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PJB m-300 PJB 6B

Hello all, I’ve been itching for a gold paisley something for ages, and recently I’ve been wanting a 51/68 style Tele Bass. So I thought I’d stick those two ideas together! 💡 I’ve done 3 parts builds that I’ve sprayed myself, and 10 scratch builds. As well as copious amounts of spray work for neck breaks etc. So going all out doing some stuff I’ve not done before on this. Never down paisley, and never done any bursts, so should be interesting. This will be a fairly long on going project but thought I’d start a thread as I’ve been buying some bits. I got this body in Black Friday deal so this is the start. The neck and some other bits are on their way from Allparts. So if your a tele/precision bass, or a paisley fan then watch this space. 👍

Glorious, just glorious. Why did I wait so long? It brings a joy to our kitchen that has been absent since my family decided that Heart FM was their preferred station about 5-years ago (I know, but some battles are not worth fighting). And the songs I'm hearing that I'd forgotten, I even heard one of my old bands from 1984 the other day (a reliable sign of quality curation if ever there was one). And the basslines? Seems the editorial policy is defined by the two questions 'Is the artist credible?' and 'Is the bassline creative?' Love it. Renewed my faith in the BBC 👍

… in Cambodia. DKs

You rang? 🙂 OK, interesting thread... Yes, Haydn wrote 104 numbered symphonies - there are various other bits and pieces making the grand total anything up to about 110... but 104 is the standard list. 104 is known as the London symphony, as that was where it had its first performance and it's fun to play. I was playing Haydn 6, 7, and 8 at the weekend in a workshop - great fun and there are two bass solos in there... Okay, suggestions of 'what' to listen to.... There are good suggestions above. I always sit someone down and I do a musical history tour to cover of the various genres and try to find a style or period that someone likes. Loosely speaking, the music falls into various time boxes, bear in mind these often overlap in time by a lot...: medieval (pre 1400); renaissance c.1400 - 1600; baroque 1600 - 1750; classical 1750 - 1820; romantic 1820 - tricky... roughly 1900. You've got impressionists writing in late C19th (not romantic) and Richard Strauss writing up until 1949. Anyway, styles explode in late C19th. For 'easy listening' the baroque era is good. It splits into three roughly 50 year periods: early (1600), middle (1650), late (1700). Late is where your well-known composers are: Bach, Vivaldi, Telemann, Handel. Music of this era has a strong structure with a bass line that is controlling what is going on. Suggestions: JS Bach - Brandenburg concertos, Orchestral Suites, harpsichord and oboe concertos. Organ music try the trio sonatas And less well-known items such as the toccata and fugue in F. Vivaldi ignore the usual suspects and listen to concerto sets like La Stravaganza or La Cetera, or the Concerto di Amsterdam. Telemann wrote a lot... his Tafelmusic (table music) is good. Handel try the Concerti Grossi - there's the opus 3 and opus 6 sets of those, the 'concerti a due cori' are fun (wait until the horns come in...). English baroque composers include Avison, who was from Durham. Early baroque tends to be dominated by French and Italian composers - a lot of good recommendations in earlier posts. The Monteverdi Vespers are fun to sing. I will write a couple more posts covering different periods. If you want the 'heavy metal' department of classical music... then you're looking at things like Wagner (Entry to Valhalla from Das Rheingold), Siegfried's Funeral Music etc, Bruckner (symphonies 4 and 7 perhaps), Tchaikovsky symphonies 4, 5, and 6. Big music with tunes - Dvorak symphonies 7, 8 and 9. Really big orchestras - Mahler. Possibly symphonies 4 and 5. I'll write more later...

Just in case anyone is interested, here is a couple of projects/parts builds I’ve put together and sprayed up.

For a one-off concert have you considered sourcing a bass out there? Either through loan, hire or buy and then resell. From what you’ve said above about only you and the singer travelling there must presumably be some technical and musical infrastructure in place out there for the concert, and maybe the rest of the band? Therefore people around likely to have a bass or can access one easily. It’s the solution I went for playing in the Netherlands and I’ve done similar in return for bands coming to the UK.

I wonder why you ask? I wasn't clear whether you are looking for something to work on in your skill set or if it the job you aspire to? Or maybe you are just musing? Let's be clear, the hurdle for a working session musician and a covers band are the difference between Olympic qualification and entering the parents egg and spoon race. You can already do much more than I can and I''ve been gigging in covers bands every other weekend for years. Learning 30 songs by memory playing four to the bar and the root note in the right places gets you an awful long way. Listening and responding to the rest of the band helps a lot too. I take it seriously and practice daily and try to be professional in my attitude but technically I don't offer much, fortunately I've not been rumbled yet Being in a successful touring band is a matter of luck, no disrespect but most of us here could probably learn the whole of the Rolling Stones (insert almost any band you like) back catalogue and go on tour playing it but weren't there when Keef and Mick were growing up. To be a session musician or a professional gun for hire you need to be good, either good at one thing which you will get hired for or with high level musical skills. Growing up my best friends father was a classical musician, he played French Horn variously for the BBC Symphony, Philharmonic and the LSO and incidentally for the Beatles (on Rubber Soul) He practiced lots, hours a day, every day, he treated it like a job! He probably had a lot of talent too, had studied since a child and was a really personable man. The big skill most musicians miss though is enterprise, you aren't going to join a band unless you get out there to find other people to play with. Look for the ads, answer the ads go to auditions, prepare for auditions, say yes to playing with other people. Go to gigs and talk to people. Advertise for people to play with you. Hang around places you know the local musicians hang out or find out where they go if you do. Start your own band. Be flexible too, the chances of you meeting three other musicians whose taste exactly matches yours is close to zero.

Wow, that's a huge spread of music you don't like!

Yeh, it is a no-brainer. Ive been on the hunt for a Fireglo 4003S for some time to do a V63/RM1999 replica but I simply refuse to pay the money being asked for 2nd-hand Ricks so when this appeared I was on it like a tramp on chips. The Fireglo is actually darker than the main photo; this is more like it:-

After many years of wanting to go, I was finally able to go to The Gallery in Camden this morning to gaze upon their wares. As luck would (not) have it, I'm down in Hemel Hempstead this week for a course with work. I found out last night that despite what I had been told, the course has been moved to Wednesday and Thursday so it left me and a colleague with a day to kill. Naturally, we went to check out The Gallery. Luckily, I knocked after finding their front door locked (smart practice, I think). The wares inside are stunning. A gorgeous Maruszczyk near the door that was quite Esh-esque in spec. A Moon in Larry Graham white with a matching Maruszczyk tribute hanging across from it. I had a chat with John Chapman who seems a very nice dude and was happy to entertain some conversation on bass. Down at the far end of the store I was absolutely drawn in by the Alembic Stanley Clarke they had in at £6500. The finish on that has to be seen to be believed. Even more rare was the bass next to it, a Wal fretless six string on hold pending sale at £12,500. Looking at it, I was wondering if it had been the one that Littleeal of this parish used to own. There can't be many of those around. Whilst I don't think Wal are 'all that', it was really cool to see such a rare item in store.

Thanks. Yes, it is a Ken Lawrence Chamberbass (built in 2000). Here's a pic of the bass without the ramp. Trying to keep everyone in this thread happy. M. M.

Working For The Yankee Dollar - The Skids

A difficult one to call, but I think my favourite is .......................... And one of the best covers of Deep Purple's Highway Star is ..........................

Did not know ramps were no longer a thing. Don't be a ramp hater-player. Be a ramp-facilitator. 🙂 M. M.

Vole over Beethoven - nearly everyone seemingly

I've modded pieces of foam with a lollypop stick glued to the top or bottom (depending on how you place it) with a bit extra at the edge to make removal easy. I reckon you could make a similar T shaped piece of wood to glue a chunk of foam to which would fit under the cover and leave a little tab to grab for removal. You could even use a tonewood lollypop stick and retire on the proceeds. I want 50%.

I have just got hold of a 2014 Fender Rascal. They were not made for long and are short scale; a bit like a 4 string BassVl. I wanted it because although short scale, which I like, they are not small - the bridge is not at the end of the bass. I am very tall so some SS basses look daft on me. I also wanted a bass that worked for palm muting and playing with a pick and this is ideal as you adopt a more guitar like playing position. Although I also play “finger style” I use other things for that and this should work brilliantly in my 60s band, especially since I have now changed strings to LaBella black nylons.

Life Is A Minestrone ～ 10CC

That made me chuckle. The answer to that question is a whole can of worms best left closed, an era of my life that is well behind me, one I'd be happier to talk about had anything I played, wrote, or even wore - especially hairstyles - possessed any quality or merit

Kissinger Fool George Michael

It was a sad day when Shaun Keaveny left the breakfast show.

I have ramps on both my Ibanez Prestige SRs for many years now, still use them and still like them a lot actually.

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In fairness to Quincy Jones, he's never heard me.

Just a cheeky plug for my bands new video. We have changed are name to Erronaut. Hope some of you like it.. and yes that is a bass wah in the middle of the song

Get a Hofner. It's like playing nothing at all. I had to get rid of mine because it was so light and delicate i thought i'd crush it with my playing.

My rigs. Most gigs I'll use the two 210's or a lone 212 cab, but outdoor gigs I'll bring the bigger stuff.

Is it the Jaguar mute you're thinking of? It's spring loaded, but requires quite a sizeable hole in the middle for the spring and won't fit under the cover. Not sure I'm adventurous enough to drill a hole that big in my bass! I was supposed to chuck the pic of it here, but my phone put it at the end of the reply...... Ahhh, I suppose a bit of wood would look better than a bit of string. You could be on to something. Have you experimented with different lollies? Any idea if a Fab would sound different compared to a Twister or Feast? You joke, but this was considered so I could have a PBass with flats/foam and another with rounds 😂

I remember going into a guitar shop around 30 years ago and a £900 4-string WAL was hanging next a £800 Tune Bass Manic. One is now worth £thousands while the other worth £hundreds. If only we knew then what we know now?

Friday Night, Saturday Morning - The Specials RIP Terry x

I have one - it definitely won't fit. Works really well though! I do remember someone installing some kind of sprung mute on a short-scale Fender - possibly a Mustang? - and it sort of 'popping' on and off with the heel of the hand to activate it. It might be possible to jury-rig something on the inside of the bridge cover like that, but no idea where you'd start!

Nice work. I nearly bought one of these back when they came out. I’ve always loved the mish mash of different bits from different things, as it were. It’s not the one that flew straight out as soon as it went into Rich Tone Music a few days back was it?

Thanks. The Fender Jazz Bass was made in 1974 and I've had it since 1992. Here it is with it's original pickguard, thumb rest, bridge and pick-up covers.

Cheap, light and loud? The nirvana of bass cabs...generally the rule is 'Pick two of the three'... 150w is a low rating for a bass cab if you're gigging without DI support; you could run that head into it, but you'd need to be verrry careful with the volume and listen to it closely for signs of distress, which isn't always easy in a band situation; an enthusiastic drummer could give you volume issues. I run a 100w combo onstage for monitoring, but I'm DI'd, and I dial the bottom end out of the amp. I'd say a 300w cab would be easier to find and give you more peace of mind...as for the cab rating in ohms, there's another thread running about the whole 4 vs 8 thing which is quite...complicated.

Yes, very nice! Not to mention the Pawn Shop BassVl 😍

I think I have a very broad taste in music but it is about the way we listen to the radio I suppose. I often just need something 'easier' on the ear or familiar...

Yes they don't feel like a short scale bass. The photo of my basses shows as you said the body shape of the Rascal and Bass VI. Evidently the bridge on the Rascal is from a Guild Starfire.

I just spent a happy but fruitless 10 minutes looking for Hadyn's 106th! It seems that there are 104 numbered symphonies, and two others, A and B, bringing the total to 106. But nothing numbered 106. 104 it is!

Nice looking 66 precision came up on reverb in the uk, they saying it’s all original, I keep telling myself not to look 😁

If you want to play along, and like harmony and counterpoint, then I'd start with baroque music, as it tends to have strong rhythm, making it easier to keep time with, and the harmonies are generally not too obscure. Can't do better than JS Bach.