Leaderboard

Ooooh! Talk about case candy. Even has a foam mute strip for the bridge cover. And a hootenany button. Reverse tuners. Tug bar. From the wonderful A Strings in Pontypridd who even made me tea and did a quick setup for me while I made a deal with old nick. And not only did they have it in stock, they jad the best shop price in the UK. You cannot be serious... World's coolest wash bag?

But you still can't find a drummer who won't speed up

Finally managed to wire this setup last night.

Gratuitous pics of my USA JB-2 fretless.

Can’t you do what the rest of us do and use ….

The above looks stunning! There’s also low profile xlr connectors in Amazon similar to those. BEHOLD!!!! FINALLY!!!! PEDALBOARD COMPLETE! Fitting is absolutely perfect and following the principles of my previous TightBoards™️ 😂 the picture shows the pedals over the edges but it must be the picture/angle PS: The Capo is…. 🤤

Sue Ryder (For those who've been here a VERY long time )

Start listening the Joy Division and all those other post-punk bands where the bass guitar carries the main instrumental tune. I've found the easiest way to come up with a good tune is to sing it first, and then work out how to play it.

It's not a new one to this thread, but may I present my entry into le club:

Laurence had a band based in Lancaster with long-time musical friend Fred Binley. The band was called Quay Change. There's not a right lot of material out there, but here is a little bit of phone footage I just found from 2016. Must have been during the 2016 Lancaster Music Festival. Jane hopped on the mic for one song that day, however she was also a regular vocalist with the band around 2009-2011. Fred is still a great friend of mine and my dad's. Video Link: https://photos.app.goo.gl/kxiNg5BNAvGveuox6 Quay Change 15th October 2016 Wagon & Horses Jane Dodson - Vocals Laurence Canty - Bass Fred Binley - Keys Tim Franks - Drums

Listen to the first two New Model Army albums when Stuart Morrow was on bass and in particular a track like this one. Such as great tone!

As if being a member of Basschat isn't already bad enough

Aclam XS1 pedal board arrived this morning, needs a tweak (longer power lead from Alix to DGHL so I can swap the DGHL to the right of the Alix) but really liking the Velcro free clamp system, very tidy. All I need to do, once the pedal positions are finalised on the board, is find a way to mount the board on a stand, here it's just resting on a mic stand shelf.

That's all very well, but I agree with him 1000% so that makes my agreement ten times better than yours.

On it, Boss. That's pretty much the compressors job description 😉 Compression is widely misunderstood and there's a lot of urban myths surrounding it but you say you've done your homework and that is the most important bit as it'll help you understand what to do with the right pedal once you have decided which one to go for. There are many different types of compression and while they all do the same job, different circuit types do it in different ways and have different characteristics that you may or may not like. So the first thing to do is decide what type of compressor your looking for. For example, a lot of guys like optical compression circuits on bass. Optical designs are inherently slower and have a gooey feel in their action. They can also impart varying degrees of colour on your signal, something you may or may not want. Another common design is the FET based compressor which inherently has a much quicker response and is great for taming the initial note transient if you're a slapper or play aggressively. There are other types to consider too. Then you have single and multi band options, analogue and digital, transparent or coloured sounding. Do you want control over your attack and release times? Do you want to be able to blend in some clean signal or allow some of your uncompressed lows through to stop the high end getting dulled? Do you want a million parameters to tweak or just a simple one knob (fnarr) design, or something in between? Does it have to be a pedal? What about a rack unit? And then there's you as a player, what style of music do you play, what bass(es) you're using. Are you using something like a Sansamp or other pedal that's already adding a ton of compression to your sound? Do you need metering or have you already got your ears tuned in to hear the compression in action? And this is all off the top of my head... There's so much to consider and it's very easy to go for the wrong compressor your needs which can then put you off for life. There's some good recommendations above, but what works for someone else may not work for you. But what I would suggest is picking up a cheap Zoom multi fx pedal, something like the MS-60B or the B1 Four, as these have a few different compression models in that cover a few different compressor styles. Have a play, preferably at volume with the band if you're in one, and get a feel for the characteristics of each type to see which works best for you. Once you've decided you can then start narrowing down the choice of the millions of options out there. It's a rabbit hole that I got lost in for years, but I learnt a lot from trying as many different options that I could get my hands on and I now know what does and doesn't work for me. And my go to compressor these days is neither expensive nor complex but I know that it will give me exactly what I want every time I plug into it - which is always!

Used to be in a band called Buckingham Phallus. Was a bit of a let-down. i also remember a band called Matt Vinyl and the Decorators. - always likes that one. 😉

Bass guitars….. You can buy one for fifty quid, you can buy one for fifty grand…. but they all do pretty much exactly the same thing. You can make folks smile, dance and have fun with an instrument that cost less than a tank of fuel…. or you can bore them senseless playing a slap solo on one that could be a deposit on a house instead. Mad eh?

It's just so nice i had to post a photo, don't get played much nowadays, concentrating on bass.

On the other hand...... I was chatting to the drummer in my band, after we'd finished our set at my local music bar. The band on after us were starting their soundcheck and the bassist started playing. Both my ears and the drummer's pricked up and we spun around at the sound of the bass guitar. It sounded amazing and I immediately tried to identify the bass he was playing. I could see it was a WAL mark 11, which I'd never seen in the flesh before and it had the best bass sound I'd ever heard. Now that's an objective opinion, as I didn't know what model of bass it was before I turned around to look. After hearing one in the flesh, and now knowing how great they sound, would I ever buy one for the many thousands of pounds it would cost me to do so? Nah......

I would say between £500 and £600 depending on condition. And a bargain at those prices....

First 2 coats! Please try and ignore the very untidy shed...

Whoa, that's some proper porn! Beautiful bass. Perfect couch (and room) to start a Youtube channel. Or a porn site

The illustrated history book is a fantastic reference tool. The Geddy book is atuffed full of gorgeous basses. The "Febder, The Golden Age" book is droolsome. I got the inspiration for my recent Seafoam Green 50s P-Bass from that book!

Anyway, this is all complete tosh. I know for a fact that I play ten times as well on a £1000 bass as I do on a £100 bass. I've measured this objectively and accurately, and there can be no denying it.

‘The Fender Bass - An Illustrated History’ is the one to get. I think it’s out of print, but available used… if a little pricey. Be warned though… it will make you covet expensive things.

The EV drivers were mostly what raised the MB Diesel cabs a notch above everything else. I’ve got the Diesel 1x15 RR (with matching 2x10) and it has all the low end I could want......although have to say the 1516 I also own and 2x15 cabs I used to own go even deeper, so must be down to cab design I guess. Even though the Diesels are old school now, they’re quite compact compared to (for example) Trace Elliot cabs of the same era. Have you looked at the driver to check it is the original EV15L? I’d be inclined to leave as is, and if not happy go with a more modern cab.

Now that's a handsome bass - good score!

Came today. Initially a bit confusing as very different interface to the B3n. However underneath that is it much the same and once you can navigate the UI quickly it's no issue (couple of hours). A few new sounds to the B3n and the Djent Preamp will be good for me. Overall not a necessary upgrade, but it was reasonably priced and has a lot better connectivity which will give me easier ways to record at home than the B3n. Annoyingly there is an iOS app but not Android (maybe in time), so i'm only using the buttons for now. I think it looks cool, it's sturdy and totally reminds me of an F-117A. Check out this comparison ! Zoom B2 Four: Lockheed F-117A:

These days about £500, way below what they’re worth. Mine is still my favourite amp 😀

Grace Design Alix, Darkglass Hyper Luminal Comp mounted on a Aclam XS1 board. Will DI straight from the Alix to the desk and monitor via a QSC K12.2.

Carbon fibre seems very good for double bass bows. I'm happy with mine from Carbondix.

Yes, but you wouldn't understand it. 😂😂😂

Well, the EMG Geezer Butler P pickup is modled after an original 60's era Fender P pickup, so at least some vintage 60's voiced P pickup with Alnico V pole pieces, and with an approximately matching DCR value of 11.20 kOhm, like the Geezer P, would be a good place to start. Other than that I can't really help. I too am a big EMG GZR P fan though.

Wasn’t that a Clash b-side?

Different thing, you were working on a passive filtering circuit for bass and had given it to a buddy to test. The circuit i drew up was for guitar and yes not only completed it but added a locally sourced switchable mid boost (+25db @500Hz). The first draft of the new diagram is a rats nest but I know how it all works now.

I definitely didn't need another bass - let alone another P bass. But this came up for sale on here, and I decided to go for it. These top-notch basses were made in Mexico, alongside the Roadworn series. I once owned a RW P-bass, and always wished it was this colour - fiesta red 😀 after owning a Squier CV in this colour, it became my favourite. Anyhow, just playing it now - it's super build quality and feels and sounds lovely. The neck is a tad wider than I'm used to, but fairly shallow front-to-back and I'm finding it pretty comfy to play. I may swap the pickguard for a red-tort one - as that would be my fave colour combo.

Wow good to know and find out there's a Worship bassist thread here in basschat. Hello! I'm Chad, a Filipino bass player from Every Nation London! Been here in the UK for 2 years and been pretty much serving in Church on Sundays since I got here. Here's a snap of our recent Worship encounter Night which is every month. Always a joy to serve for God in music Ministry. Cheers fellow brothers and sisters in Christ!

I just noticed that my original post in this thread was exactly a year ago today - and funnily enough, I've a few "experiments" to report on. Since buying this bass, and absolutely loving it - I have tried a couple of different necks on it. I recently bought a Fender US Jazz neck (from this very forum), and had a Fender MIJ neck (which I'd intended to put on another body.... and will try, at some point). The Jazz neck being typical Jazz width, and the MIJ neck being slightly narrower (42mm) and slightly more shallow, front-to-back. I like the original neck on this bass - it feels nice & smooth. But I was looking for something a bit slimmer. The same, original pickups were used throughout, as were the strings (TI Flats) - so the neck was the only factor to change. Sadly, I'm not "tech savvy" enough to do a decent recording, for proper comparison - but I did try each neck configuration through the same couple of amps, and my headphones. So it's my ageing ears that we must trust for these comparisons! I had wondered about different wood types, and talk of Maple v Rosewood boards - the MIJ neck, having a RW board, and the original P neck and US Jazz neck being Maple. The sound was definitely "snappier" on both maple boards, and slightly "softer" with the MIJ Rosewood-boarded neck. The added width of both the original, and the MIJ necks definitely helped pronounce the low-end notes a bit more. The original P neck definitely producing more sustain than both other necks - but perhaps that's partly down to a slightly better fit in the neck pocket? The original neck being just a tad more snug.... Of course some of this may also be down to better matching of wood types at the factory? You would assume that with this Classic series, the selection process at the factory being more rigorous for the more expensive models. I did some recording as part of a new project last night - at a music school studio, and really liked the sound from this bass. The engineer also commented on how much he liked what he heard. What I can say for definite, is that one year on.... I'm still really loving this bass. I really regret selling my Squier Classic Vibe P bass - but don't regret buying this one.

These are quite hard to find but do a darn close impression of the TE GP12 pre amp tone. The shape control is also adjustable rather than straight on or off which is a great feature IMO.