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From the top: 1978 1985 1994 2012 And below, last weekend at sunny South Shields Amphitheatre 29/6/24

Mine 😍

Long story as to the why and the how, but very happy nonetheless. Original 1971 in all it's glory, weighs slightly less than the Titanic but is a joy, plays like butter and sounds like the Precision sound in your head. Bought for s very specific project that I'm now very glad I chose 👍

Well, what can I say? I love it. The Barefaced 10" sound is where it's at for me. Each of these amps sound better to me through this cab than they do through my Super Compact. I like the way they are warm and coloured. It's also very punchy and the bottom end doesn't dominate like it can with the 12"s. I'm very very happy with it. Three gigs to come this month too. Interestingly it's the first cab I have played the Bergantino through which has made me want to keep it over the others. After the last hour of A/B/C testing, the Bergantino is going on the next gig with me as the main amp. I suppose I had better withdraw it from the classifieds then! @shug you will love these. It ain't small though, it's the same size as a Super Twin, just not quite as deep. But the wheels and multiple handle options make it quite easy to move around. Well chuffed, Rob

It's here! Looks fab. I will try to give it a whizz this afternoon. Rob

Bloody marvelous. It makes all of these amps sound bloody marvelous. To be fair, I could take any of these amps on a gig a smile the whole night. There's a complexity in the Bergantino I haven't really heard properly until now though, so I'm interested to see how it goes on a gig. It really suits the cab, much more than it did the Super Compact, which I thought made it sound too bright and too deep all at the same time. Rob

Definitely, in my last band we used to see a lot of this, bands wanting to use full back-lines (often even asking to use guitars) as "they were travelling to the gig" - well none of the other bands lived at the venue so they must have been "travelling" as well, spending an hour on a "sound check" which actually turned out to be them rehearsing their set as they clearly never did this anywhere else, and as soon as they were at the venue their priorities were where`s the free beer rather than checking out the stage/PA/lighting/sound-man/areas to display merch etc. As one old-hand said, they weren`t bands, they were groups of blokes on a Saturday night out.

I made a little recording sound is mixed for smartphone speakers 💀 but you get the idea 😅

Well to resurrect an old thread, I did regret selling that modulus but kept a watch out from when I realised - back in 2017 - until 2 weeks ago when I spotted my very own bass up for sale in Some Neck guitars in Dublin. Guess what? We’re reunited and it feels so good…..

Hi ! I hope this is allowed. If anyone need custom/discontinued/hard to find knobs, I can 3D model and resin 3D print them. I've done it for Wal knobs, Aria knobs, Ibanez inspired knobs. Some 3D models : Some finished products pictures : Feel free to let me know if you want some

Hi guys and gals, Focusrite has sent me a free license of Baby Audio Comeback Kid, it is a very good delay plugin. The problem is that I bought it 2 years ago so this license is surplus. So if you are interested in the license please message me and I'll send it to you for FREEEEEEE!!!!

We Are The Champignons - Queen

If I had teeth like him I would be showing off all the time too

Tonewood == firewood

Something else to bear in mind is that note timbre will change according to which string you use to play a note. The A on the 10th fret of the B string will sound different to the 5th fret of the E string and to the open A, partly because of the character of the string and partly because of where you're plucking it relative to the speaking length of the string - if you pluck in the same place then the higher you're fretting, the closer you'll be to the centre of the speaking length, hence the less harmonic content you'll get. If you're playing short notes it won't be particularly noticeable but it's worth keeping in mind and experimenting with on sustained notes.

Here they are!

Love this!..

My favourite Fretless 2EQ unlined Stingray

I've only just bought myself a bass (about 2 months ago) thinking it looked like the most fun way of trying to stave off dementia as I plummet into middle age. Loving it so far but I was going through various Youtubers to see how best to start with it. Then someone suggested I pick a song that I like the bassline to and find a tutorial an learn from there. I settled on Hit Me With Your Rhythm Stick and found the video below. In retrospect it's probably a bit too advanced for my first go at 'music' but it's definitely a fun journey. I thought I'd hit a goldmine with this guy but unfortunately there isn't too much on his channel that's as good as this for someone who wants to learn a specific tune. He has plenty of good stuff but I was hoping he'd have a hundred songs to learn in the same style ready and waiting for me to get into. Unfair of me really as it must have taken ages to go through the one song like this. Better ears than mine might tell me he's not that good but he sounds excellent to me.

South west corner of France covers a pretty big area. Where abouts are you?

Todays progress consisted of trimming all the veneer fillers back and sanding and sanding and sanding the fingerboard. There were a number of dips and high spots all over the board but now it’s nice and level and flat, and the fret line fillers are about as inconspicuous as I can make them. Next step will be building a jig to cut the fret end slot markers as I don’t trust myself to freehand these with the Dremel. I’ve saved all the sanding dust and I have a bottle of tru oil on order. Once that gets here I’ll be attempting @Andyjr1515 slurry and buff technique on the fingerboard.

I may well be the outlier here but over the 46 years that I’ve been playing I’ve taught myself to read and write musical notation. Unless a piece is very simple I tend to make a reasonably accurate transcription and learn it from that. One tip I picked up online was to start at the end and work backwards - that way you’re always moving into more familiar territory.

I collected a Nash P bass from @Skin Lewis yesterday lunchtime and thought I’d play it for the first set at yesterday’s gig in Bath. It sounded so good, I carried on til the end and my main bass became my spare. I can’t be the only one to get a new bass and gig it immediately surely?

You Can Corby Al - Paul Simon

😎

The x-over means the dry signal knob brings in a low-pass-filtered dry signal instead of a full range one. It basically brings on only the lower frequencies from your dry bass sound, which is often a better way to blend in with the wet (distorted) signal. To hear what it does, dial out the wet signal entirely and flip the toggle between the two positions.

Looking at Warwick website it appears your prayers may be answered. Not only Meteoexpress Modern’s in 4&5 string, also the MM, MM/J and Will Lee models too! Around the £1000 mark give or take £100 or so, so directly competing with the likes of the MIM Fender Player & Player Plus, Charvel San Dimas, Sire V10/P10 etc. I’ve got a couple of the Gen 1 MetroExpress’s now and have been blown away by how good they were for the money (but I paid sub £350 for both of them) however I still think these will be the best thing you can by new for a grand by a mile

Did anyone else misread the title (and still click on it)?

I think it's true what he says - it doesn't matter what anyone else thinks, as long as the player feels happy either way (like, 'this sounds warmer because it's rosewood!' or 'I just like the way this looks') then that's good. Same with our pedals - probably nobody else cares at all whether your envelope filter attack is adjustable or not. But in this day and age where everything is about convenience, similarity, efficiency and cost, I think we're lucky to have refuge in arguing about the nuances of something as minor as tonewoods, and if we feel empowered one way or the other, that's cool.

No, it’s a bitsa but a rather special one, trust me 👍

Guild Starfire I

A Kay. I wouldn't stake anything more valuable than a Polo mint on it, but I think they were also Teisco, and possibly sold as Top Twenty by Woolies.

The Jack Cassidy basses are wonderful. I’ve played them a couple of times and they’re just excellent instruments and good value for money.

What a way to go though. 😍

so got a thing and it’s great fun do want to add a mute switch maybe so I don’t have the bass going to foh when I’m not using the Vocoder got it to add some cool layers on BV

Is this more scab picking?

Does anybody else enjoy picking up gear that was flavour of the month but is now no longer as popular? I’ll start. I picked up a TC RS210 yesterday for £225. That’s on the cheaper end of the scale these days, especially considering they were around £600+ 10 or so years ago. And d’you know what? It’s fantastic. I bought it to add to my ‘small’ rig. It started off with a singular RS112 that Thomann was selling off cheap around 10 years ago. This led to me acquiring a second RS112 a few months later to make a small stack as my old Trace rig wasn’t best equipped to deal with the 4 flights of stairs to get to the main room in Clwb Ifor Bach (big up, Cardiff bassists). After a raft of heads including a Markbass LM3, a GK 700rb and a TecAmp Puma 900, I eventually picked up a tatty RH450 from Marketplace for peanuts. They sounded fantastic together - you could really tell that the RH and RS series were designed to work hand in hand. During the RH450’s tenure with me, I replaced a pot, superglued the buttons back together, changed the knobs to less broken ones and I had a rig that I was very, very pleased with; moreso than the other, more expensive heads. A good deal on NOS RH750 from PMT a few years ago led me to picking up a brand spanking new one for £350. I sold the RH450 to a mate of mine, which paid for itself and then some. I ran that rig for a few years but always fancied adding an RS210. Lo and behold, one came up yesterday about 20 minutes from my house. Done deal. I still remember the marketing videos coming out on YouTube when they were launched 13 or so years ago. I remember TC pushing this series quite hard, and the fallout on TalkBass about the 236 watt power section not being very honest about its output (it is, in fact, plenty loud enough for any situation). The design is coming up 15 years old now, and TC stopped making them long ago. In fact, TC has undergone a bit of a personality transplant and isn’t really a contender in the bass amp market any more. These were certainly flavour of the month 10+ years ago, with Mark King and Nathan East appearing all over the marketing material. Fundamentally, these were and still are fantastic amplifiers and cabinets. They’re not perfect (the coating gets a bit flaky, the knobs are made of pastry, and they’re no longer contenders in the ‘lightweight’ category) but for several hundred pounds less than a mid-tier, 500 watt head today, you can get a fantastic sounding and extremely practical stack that will happily see you through many, many gigs. You just have to wait 10 years or so… 😂 Anyone else buying up not-so-cutting edge equipment?

I have a couple of Guild Starfire 1's and I think they are wonderful. Both have TI flats on them and play/sound great.

That's been the issue with the last three keyboardists that have bailed. We are now sticking as a four piece with the singist on keys. I'm getting cheesed off with lack of progress despite my attempts to push forward. I want to be out gigging and we are a way off yet.

My Longhorn has the original factory strings , it’s from the early Korean run when they were introduced. So since sometime around 98. The Shinkos do not have serial numbers anywhere. The strings are dead. But do have a wonderful woody old school thump. I remember how zingy they were when I was first playing it , but that’s long gone. I have a LaBella Dano set ready in case I lose a string. Until then , the factory rounds are staying on. I have two other short scale Dano basses , a Chinese 56 Dolphin Nose , and a recent Korean short scale DC. They both have LaBella Deep Talking flats. The Longhorn is still my favourite.

Now there's some quality posting for you...

My band runs a jam night. One thing we've learned is that it isn't an exam. We happily laugh at ourselves when we get things wrong because it doesn't really matter - there's always another opportunity to play things. If someone else gets something wrong, it doesn't matter. It's all meant to be fun.