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Imo single cut basses sound more stern, less frivolous than double cut basses. As if they heard their retirement age has been pushed back. On one hand they exude an atmosphere of business acumen and accountability, on the other they give the impression of a lesser lust for life, of not letting go at parties. Single cut basses are a lot like a greengrocer's hammer: beware when one is applied in earnest.

Starting a new build for a fellow Basschat member, because this one deserves documenting properly — if only as a cautionary tale. The brief: a paulownia body, finished properly in nitrocellulose, going Dakota Red, paired with a MIM Fender neck. The timing: while fighting a genuinely world-ending case of manflu. The wood: paulownia, which has zero sympathy and even less respect for human suffering. As usual, this will be a warts-and-all build thread — no carefully curated highlights, just the reality of what’s involved in getting a nitro finish right on a wood that actively resists it. This is very much not a “quick colour and clear” job. Paulownia has a habit of revealing grain, pores and dents you were sure you’d already dealt with — especially once primer goes on and you’re already feeling sorry for yourself. The plan (and yes, this is the long way round): Multiple coats of nitro primer Careful flattening Shellac to lock everything down before colour Grain filler, because the grain will come back if given even half a chance More sanding than feels medically advisable Eventually… Dakota Red At the moment it’s firmly in the “primer shows everything you missed” stage — which is nitro’s favourite moment to kick you while you’re down. The aim here isn’t speed; it’s getting a finish that won’t sink, print through, or look like it’s been applied with a teaspoon. I’ve also added a cut out to the neck pocket as the neck is a heel adjustment truss rod. My cunning plan is that it will be covered by the pickguard in normal use but means that the neck can be adjusted in situ by just taking the pickguard off and not having to de-string, remove the neck, adjust, attach neck, re-string, tune and repeat until it’s right. Progress may be slower than usual, fuelled mainly by tea, ibuprofen and stubbornness — but it will be done properly. I’ll keep this thread updated as it goes along, warts, mistakes, fixes and all, including the usual sanding, swearing, re-priming, and pretending this was all part of the plan from the start. Dakota Red to follow… once both the finish and the builder are fully cured.

Like most basses, a lot more than I sold mine for….

The challenge was lining up accurately enough for the original side dot holes to line up. That said, at least it would then be in exactly the right position! Held together, this was would be I was aiming for if at all possible: Dry, I used some spool clamps to hold the side to side position. I then drilled a couple of micro holes in the nut slot through to the neck and tapped in a couple of thin panel pins. Same at the back - I lifted a fret and put a couple in there too. At the back of the neck, I stuck a strip of hardwood along the neck spine temporarily with two-sided tape to use as a clamping caul: I pulled the fretboard off to apply the glue, then could use the projecting panel pins to relocate and prevent the board floating around under clamping. I used a series of radius blocks before putting around a dozen clamps to squeeze all of the glue out and get a closed joint on both sides all the way up the neck. Here is the first clamp - 11 more to go: And here it was glued, waiting for some replacement side dots (which come as a thin cylindrical stick) to be fitted: And re-oiled ready to return to @Owen

I like how he's got his lyrics written on his arm

Like other people have said, I prefer a physical magazine and don't like reading features on a screen. I used to subscribe to a bass guitar magazine but stopped my subscription because it seemed to concentrate on the heavy rock/metal scene. There were features about players I'd never heard of because their music was not to my taste. I was wanting to hear about your average touring or function bands, people who play on cruise ships or in holiday camps, studio session players or those in a theatre orchestra pit. Heavy rock dominated the pages. I also found the magazine hard to read because of the layout. "In your face" art with words overlaying photographs became an assault on the senses. What is wrong with black print on white paper, using a font size that doesn't require a magnifying glass to read? If the new publication can find the right balance across the vast music scene, with an easy on the eye format, then I shall certainly be interested in reading it.

An original keyboard played on early Stranglers hits by Dave Greenfield is repaired in the Repair Shop BBC1. It was given as a gift to the new keyboard player, Toby, who is a massive fan of Dave's even before joining the band. I believe it is Toby who takes it in. Well worth a watch for any Stranglers fans or those with an interest in vintage keyboards.

You may have been able to buy a used Stingray 15 yrs ago for £750 - the operative phrase being 15 yrs ago! These days I’d say £1500 for a standard one (not a Special, Classic or anything else unusual), with price increasing dependent on model. The Specials appear to be around £2000 used but that can vary upwards dependent on pick up spec, colour etc etc, much along the lines suggested by @hiram.k.hackenbacker Talking of whom, I bought a particularly special Stingray he once owned last year, courtesy of @MM Stingray 62 (thanks both of you). It’s basically a factory spec 3 band Stingray, with strings through body, a Status made graphite neck - called a NAMM 100 bass (basically a Cutlass with strings through and a 3 band preamp). Now this bass (which cost nearly twice what I’ve just been talking) normally sits locked away but I got it out for a couple of recording sessions - blues/funk type of thing - and it sounds fantastic - absolutely thunderous Stingray sound! I also used my 4HH Stingray Special and whilst sounding slightly different (actually slightly darker), that sounded great as well. I couldn’t have asked for better recorded bass sounds (I got three tracks - a DI, one speaker on the upper of an ‘isolated’ Mark Bass 2 x 10 Traveller and one on the lower one). I also did some recording work with my Stingray Classic (I bought it when they were first announced in 2010) - that bass I’d fitted with TI flats - once again a great Stingray sound but slightly different (down to the flats more than anything). I used that bass for a ska gig very recently and from some ambient vids taken, the bass sound is great. A nice balance between supportive bassy sound and poky mids, which allow the notes to be heard. In none of this was there any issue with ‘weak G string’ syndrome - in fact my experience is it doesn’t occur in recording work - and if it does live, it’s usually down to stage EQ, other band members (eg keyboard players/ guitarists) playing in the wrong register too often, and room dynamics. However my experience has shown this to be a stage sound issue - generally not an issue in FOH. I have rarely encountered it with any of my Stingrays - the worst experience I had with D and G string absence was on a Fender Jazz but this was compounded by the factors mentioned above! So £1500 is a reasonable used value in my view, £2k for a Stingray Special and more for some of the more esoteric versions. And don’t forget the early 2000s US built Subs - these are 2 band EQ and appear to command various prices up to £750 last time I looked - again dependent on colour etc etc.

There's been a few comments re 'regular' Stingrays not being as consistant as Specials; I have to say of all of the mainstream manufacturers (where you can buy an off the shelf bass) that I've played in the last 40+ years, I'd say that Musicman USA basses have been (arguably) the most consistant in terms of quality over pretty much every other brand and they've certainly not had peaks and troughs like some brands. Are they almost always consistantly heavy... yes. However, with consistancy I'm referring to hardware, electronics, fit and finish. You are always going to get the odd bass that came off the production line late on a Bank Holiday shift but by and large they are one of the few bass brands that I'd buy blind (even used).

Talk about things moving and changing rapidly... I started to learn to play euphonium in October. Initially, the tuition was with the beginners' group with the training band. It is significantly harder work and slower to learn than sax or cello (or bass). My big advantage is I already read music and I'm an experienced musician so I don't have most of the issues that add extra challenges to beginners. I started private lessons as well just before Christmas - had about four now - which helps a lot. I'm now playing with the training band, not the beginners' group - I'm the only one that's been asked to move across (some of that is I've been more consistent in attending...). There are notes I can't play as they're beyond my current range. I either read down an octave, or omit them. A couple of weeks ago, the MD messages me 3 hours before rehearsal and says: can you take the rehearsal tonight and conduct it? I have stood in before in various groups and I did do a conducting component at summer school last year. Then I get asked would I consider taking on the conducting post at another band in the area? So, some long phone calls, a visit from the band leader and a long chat, I go to the band's rehearsal last Wednesday and now it seems I'm the conductor of the band in Appleby... I've spent this week trying to find videos (with correct arrangements) of their current list of pieces - not entirely successfully - and I've been marking up scores. Good job I'd already signed-up to the conducting part of the this year's summer school...

It doesn't seem so long ago that £800 was the going rate for a pukka full fat USA Stingray and you could pick one up on BC most weeks... I said 'seems'! I'd be surprised if there are many around as cheap as £1200 and I'd expect a regular/non-special to be closer to £1500.

Off to Horbury WMC for a 40th party attended by around 150 people apparently, although you wouldn't know it from the lack of audience involvement. Hey ho. The evening started auspiciously as I managed to find a parking spot literally three feet from the door! After I'd recovered from the shock we set up pretty quickly, said hello to the birthday girl and her husband, soundchecked, then sat around doing nothing for an hour and a half. Went with the by now tried and tested Siredowsky - ABM - Two10S combination, which sounded pretty good on a larger stage. At halftime I was approached by a local guitar tech who preferred his business card, so I'll have to look into that as I don't have a go to one in these parts yet. Managed to grab a bowl of curry, made by our guitarist's ex apparently, before heading back on stage. We all played really well, and our newer songs are sounding really good, apart from our drummist truncating Two Tribes again! We had a couple of half-hearted dancers for a couple of songs but that was about it, but star of the night was the 9(ish)-year-old girl who was dancing and cartwheeling on the dancefloor for the entire second set, which have me a bit of a boost. Before we started our singist approached us all and asked if we'd fancy giving London Calling a bash. Hell yes, I would!

I suffer a lot with depression. some of it is down to my life choices, so my bad, some of it is down to my illness and some the required medication. one of the things I do when I am down is buy music stuff. My credit card is in a constant state of being paid off. i don’t normally regret my purchases, and the stuff I have brings me imense happiness. I often say out loud I absolutely love music, probably more than I should and certainly more often than i say I love my wife!! anyone else indulge in retail therapy? I am currently looking at either an Atelier Z fretless or and Ibanez headless fretless to make the decision of not defretting my Yamaha seem like a better decision. i guess in a way i am addicted to gear, and justify it any way I can. i am lucky my wife just encourages me, if want it and u can afford it just buy it and stop talking about it is what she says. Hence my credit card never really going down.

I've got a Sire Z3 for plunking on when the mood takes me and it's sounds more like a vintage two band Stingray than my Stingray Special does. The older vintage basses have the treble EQ shelved higher, so it's got that top end slice. They've got a more scooped-out tone than the newer iterations. Around the time Ernie Ball took over production of MusicMan I had a vintage Stingray, and a very nice example it was too. However, for my taste those new EBMM basses I was trying in the shops were superior in every way to my pre-EB Stingray. I would have cheerfully done a straight swap. The Specials have got enough of that vintage sound though, and you can easily EQ it in. The Special is a bit richer in the mids and a more focused tone overall. It's all in my mind, I know, but the Stingray Special being lighter makes it seem even more punchy when I play it. The subtle changes in design have really improved comfort overall. I really like them ( At the moment I'm actively looking to buy a second one to put flats on). If other folks prefer the older basses then good for them, though. As the saying goes, you pay your money and take your choice.

I don't know about £1500 minimum, over the last few months I've seen quite a few 2000s era Rays go for £1200-1400 from the likes of Andy Baxter, Bass Bros and Bass Direct in decent condition, so private sales could be below that. EXs more like £1000-1200. The specials and classics are around £1700-2000. The late '80s and early '90s ones seem to be acquiring a 'golden age' status in some quarters (although in reality I don't think the 2000s ones are inferior in any way, apart from maybe the neck finish and lack of mutes) and are also edging towards £2000.

Here you go chap! We're also on Faceache and Instagram https://doobieexperience.com/shows https://doobieexperience.com/ https://doobieexperience.com/sites/default/files/2025-03/Doobie Experience Mix.mp4

Forgive the poor scaling of the shots - I've directly pasted some random JPGs This was the thin fretted fretboard of one of @Owen's basses back in 2024. See how close the bottoms of the fret slots are to the bottom of the fretboard...that's not a lot of wood! The problem was a totally seized - and fully adjusted - trussrod With due warnings to Owen that it might well snap, I got out my trusty travel iron and sat it on the heel end for around 10 minutes, testing every now and again with a Stanley Knife blade: Once the glue was soft, I progressively moved the iron forward, sliding a steel sheet I use for bending acoustic guitar sides into and along the softened glue. Any thin steel can be used, a decorator's platter, a thin scraper - main thing is to slide horizonally...NEVER lift!! And you DON'T RUSH, and inch it along a few mm at a time: And eventually, it's off...and still in one piece. That is one well k*******d trussrod! :

This Saturday night in Shoreham-By-Sea will be the debut performance for my brand new 'Doobie Brothers' tribute show. Featuring a 9 piece band with brass section & percussion, this has been a labour of love... and to say I'm excited, but anxious, would be an understatement! https://ropetacklecentre.co.uk/events/the-doobie-experience/

I have a single cut Wishbass. First single cut I’ve owned. Looks weird. Gets a lot of attention from visitors. Plays great, sounds great, looks bonkers. That’s my in depth review.

This is so much more than any claim of nepotism..... and they are so much better than they have any reasonable right to be. Great song and feel, fantastic harmonies and a cool late 60's/early 70's Crosby, Stills & Nash vibe. Love it and looking forward to their debut album. Evan Stanley (Son of Paul Stanley of KISS) and Nick Simmons (Son of Gene Simmons of KISS). KISS haters, keep your comments to yourself...

In an ideal world, I'd have a half-cut bass.

I was planning to do an hour or so talk about 3d design and 3d printing at the Bash. A few people have expressed a slight interest. For those of you who remember the village hall in Clapham, there is a little room adjacent to the kitchen, and I would use that. Is this of interest to other people? If so, what would people like to know about? I can't design and print a bass in an hour but I can talk through the basics and explain what works and what doesn't. It's easy enough to bring a 3d printer over and I can make the session interactive. Perhaps show how to design a simple pickup cover, or a volume control or something. Just throwing this out there for feedback and comments (good and bad). Thanks Rob

Looks like I am going to be stocking the Nobelium soon, pedals en route now and up on the site.

Probably not an autobiography.

I spent 5 hours on a couple of tracks in Suno earlier today and only stopped as the Mrs. wanted to use the computer. Its the most enjoyment I've had in music for ages. I don't see this as a battle at all. AI is just another tool and obviously the future.Tomorrow I'll stem them , take them into a DAW and add real instruments - I don't see an issue with that process. The output is infinitely better quality and more satisfying than anything I could have produced on my own. I do completely agree however that those whose work has fed the learning model should be paid accordingly.

I have never visited the store, I'm a little far. I have bought a few things from them over the years, mostly FX pedals/strings, but not many, because I often felt a bit 'meh' about their email communication. My last interaction (a few years ago) was just rude, I felt, and I never went back. But... credit where it's due. I have observed this thread with interest, and it does look like they are addressing many of the complaints. This weekend I was looking at buying a set of "Thunderbrown" strings for my little 23" GoldTone bass... and there weren't in stock in most places. BUT... Bass Direct had 1 set in stock, the website indicated. So I decided to give it a go. I placed the order on Sunday, and I received them today, around 48h later (despite ordering on a Sunday!). I got emails confirming the order, confirming dispatch, and even tracking information... for a measly set of strings. I'm impressed. @Bass Direct I am very glad to see how you've improved the online side of the business. Thank you!

One of the joys of having a 3D printer is being able to change things quickly. One of the perils of photographing black is photos look crap. Changed all the corners and ports from red to black. From the back And the top. The corners re black but due to flash have come out gray And of course they can be run side by side. A nice modular system. How's it sound, no real idea as work, dog walking and other stuff have foiled any attempt to fire them up in anger I also now have two red ports and a black port now spare. They have a foam gasket for sealing purposes applied and use M3 bolts. Let me know if anybody wants them. Rob

No idea what model this is but it's definitely a schecter bass. I know he was a long term user of Washburn and Jackson basses

A couple of dangerously pretty new bits of timber have snuck into the workshop today, so I thought I’d share before I start inventing excuses to keep them for myself. First up: ziricote. Because apparently what my life was missing was wood that looks like it’s been hand-drawn by a slightly unhinged tattoo artist. Dark, dramatic, and absolutely screaming “don’t you dare paint me solid”. Then there’s some curly ambrosia maple, which looks all innocent from a distance and then up close goes full jazz hands with spalting, curl, and insect-assisted chaos. Nature understood the brief. Both are earmarked to be paired with sapele(ziricote) and Lebanese cedar(curly ambrosia) for future builds, which should be a nice mix of sensible fundamentals underneath and absolute nonsense on top. Like a good rhythm section supporting an overconfident lead guitarist. I also have a set of custom USA Bartolini radius shaped soapbar pickups from a prestige Ibanez to use up, Also did a quick headstock branding test while I was at it. No big announcement, no polished marketing spiel — just a “let’s see what happens if I apply heat to wood and hope for the best” moment. Happy to report: the headstock did not catch fire, I quite like the scorching coming out from the brand and the logo is still legible. Always a win. I used shellac on the back and headstock of this neck and after sanding the back it feels gorgeous. The headstock isn’t sanded yet. As usual, this will all be very much warts-and-all when it turns into actual instruments. There will be learning moments, mild swearing, and at least one point where I wonder why I didn’t just take up knitting. Anyway — thought some of you might enjoy a bit of timber-based temptation. More to follow once these stop staring at me every time I walk into the workshop… 😅

Thank you all for your replies, it really is appreciated Pleased to say I went with a Lakland Skyline 44.02 I felt this is the one to start my journey with and keep me motivated to overcome the inevitable setbacks

I’ll check my diary and get back to you Rob. Peter

I have taken the brave decision to launch a new print and digital bass magazine for the UK market. I've been publishing magazines in my day job for 27 years and think it's terrible that we don't have a dedicated magazine anymore. We launch the mag officially at the Birmingham Bass & Guitar Show next month where we will have a small stand and giving away a sample issue (while stocks last) - we will then publish quarterly moving forward. Editor is Joel McIver who ran Bass Guitar magazine and then Bass Player so no cheap AI generated content here! Website is here You can subscribe via the website - our socials launch on Monday. If you are at the show next month come and say hello - be nice to put faces to names. The cover of our sample issue is here for your thoughts and comments.

Sorry, but that wouldn't do it for me. I put an East MMSR circuit into a 2007 Stingray 5 once, and it did improve the tone, but if I was to replace the circuit in a Special with a two band, then I'd need to replace the frankly rather characterless Neodymium pickup they put in it with an Alnico, lacquer the neck, fit a chunkier bridge, and string it through the body. (OK, maybe not the last one!) I don't disagree that the fit, finish and feel of the Special is very nice (I briefly owned a Special 5) but they're a completely different animal to all of their predecessors for a whole host of reasons. Sadly, I feel they've lost the essence of the original design along the way, IMHO. If it's not already apparent, I'm a Stingray fanboy - in the 50 years I've been playing I've owned 18 Stingrays, a Sabre, a Bongo, and a USA Sterling. Yes, I have a list, but oddly enough, I don't currently own one. But to stop hijacking the thread and get back to the question posed by the OP, 'regular' USA Stingray 1200 and up, Special/Classic 1800 and up, pre-EB think of a number and double it! Good luck with your sale/hunt, @Supernaut.

Everything is easy for Andy. The rest of us, not so much.

It's the white Hamer Scarab bass that I always associate him playing, from the "Hysteria" era.

It takes a bit of experience...but I've never lost/wrecked a fretboard yet. The absolute must is NOT to rush and NOT to try to lever it off.

Hi fellas!! My name is Jonathan, I'm the new guy here in the Basschat forum!! I'm 49 y/o and I've been playing since a was 20, so we're talking about a lot of notes!!!! Landed here looking for a carbon fiber neck replacement for an USA MM Sterling 5H, and after reading a little bit I found this is a nice and cool place top share some love for the bass, so I decided to join... Thank you so much for accepting me, have a great day!! Jonathan

Today it is "Unf*ck The World", by Prophets of Rage.

I've removed boards before via heat Steam/iron pretty much this method Take your time and work on a small section, Do not force or try to pry the board away from unheated/glue melted sections, you have about 2mm of wood under each fret and the board will snap if you try and force it You might need to reroute the rod channel if you can't find a direct fit replacement dropping a dual rod in it ok & you should be able to clean up the neck/board for re gluing with a little acetone/nail polish remover, use a blade edge to scrape it away (don't dig in) a wipe down with clean water (don't let acetone soak if it's a lam neck it might weaking the glue joints) One thing you might want to try before your go for taking the board off is to get some heat directly on the rod's nut by applying the tip of a high watt soldering iron to it, that might be enough to break any corrosion/bonding between the nut/rod (that is if it isn't cross threaded) Good luck

I'd say higher for the Stingray Specials, as they seemed to correct the 40 year old 'weak G' problem. I believe those instruments from 2018 onwards to be far superior.

Probably a bit neater too. The ebs is quite a large metallic beast covered in knobs and switches that are easily activated in error...I had to read the manual FFS!

Fretless rules. I have a fretted MK2 Wal which I hardly ever play...because I have a fretless and that's what I almost always pick up. Fretless sounds and feels so good. But: two reasons not to mod your bbne2. 1. That's an expensive bass to go modding. I defretted a bass once but it was a plywood jazz copy. 2. Apart from being thro neck the bbne2 appears to have those mother of pearl plates ( forget their name) on the fingerboard. Those would have to go and be filled with matched ebony. Difficult and expensive. A whole new board might be easier...and that might upset the neck stability. On balance if say great idea but not on this one!

I do not follow Fender or Yamaha or many other brands as they just do not fit me. That's why I didn't remember that it is a neck through. But my main point was that as it is a fine instrument, I would keep it as it is. Self made modification may be fine, but there are other possibilities, too. A skilled luthier can make a good fretless version of it. Same dimensions and everything, the playability between those two could be very interesting. And a good luthier may suggest some tiny modifications that support the fretless sound, too.

Apologies for the AI slop - but anodized gold is the way to go here

Hi guys, Just recorded a video in 4k so you can really see the detail of the body with the glassy finish... yep still in good condition after all these years!