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I should have married you! 😂

I think it's down to the fact that as a fairly small community and everyone values their reputation. ... And bassists generally aren't the big ego types who think they'll just blag their way out of anything

Well that wasn't entirely easy to resolve, and taught me a few things about eBay, the main one being that they will listen hardest to whichever party is prepared to shout the loudest (and this was a guy who sent all of his message IN CAPITALS so I'm guessing it was him, for a while at least). Also, and rather alarmingly, the person who eventually resolved it for me - a process which took several long conversations - suggested that eBay doesn't disclose the nature of complaints made, even to the person who is the focus of those complaints. In short, they initially said they couldn't remove the negative feedback because they had evidence from the seller that the feedback was accurate, but they could not share that evidence with me? Amazingly however, not one of the people I spoke to had actually read the eBay messages between me and the seller, and the guy who eventually did said "no brainer, he's clearly in the wrong", my negative feedback was removed and case closed within minutes. I'll be honest though, I found the whole thing quite stressful, the guy was clearly a little obsessed with getting his own way, and the constant messages and accusations just started to wear me down after a while. Anyway, lessons learned.

Hey guys - great to see that you're checking out what we're doing over at SBL! Thought I'd chime in to add some clarity that may be useful in some way, shape or form. What I publish on YouTube is a completely different kettle of fish compared to the ScottsBassLessons Membership. My YouTube lessons are kinda bite size chunks of standalone info, usually on a particular subject. The latest one's (as in, for the last 18 months or so), are very "unpolished", show a lot of behind the scenes stuff, and 99% of them are all me. ScottsBassLessons on the other hand is an online school. We have a library of over 40 courses (each course is focused on a particular subject, and some are up to 10 hours long) We stream live classes for our members each and every Monday from some of the best bass educators on the planet (these are also interactive so our students can ask questions, live). I host a monthly "student focus" class - so members can submit videos directly to me, and get a video response from me in return And a bunch of other cool stuff... but I'm guessing you get the idea. Again, just to make it super clear, ScottsBassLessons isn't just me - our faculty consists of bass players such as, Gary Willis, Cody Wright, Rufus Philpot, Steve Jenkins, Rich Bown, Danny Mo Morris (Berklee College of Music), Ed Friedland, Ariene Capp, Evan Marien and many more... As I'm guessing you'll see, it's a big operation and is nothing like what I do on YouTube. I should also mention that all of our courses inside SBL are highly produced, unlike my YouTube videos. If you do wanna check it out, we have a free trial for that exact reason - so you can take it for a test drive and see if it's for you. Any other questions - just gimme a shout! Cheers, Scott. PS. I'll try and keep the meaningless drivel down to a minimum for ya @thebigyin

How do you titillate an ocelot?

just goes to prove yet again that bass players are all around good eggs and pillars of the music world, is hero too strong a word?

Show her this and tell her to count herself as lucky.

I've just completed another bass part ex / sale with Martin from Wales - we had lots of communication both ways throughout the process and have been exchanging a few texts since about the basses we swapped. And it got me thinking as I was writing his feedback and looking at the three pages of feedback I've got....basically (bar one specific example - exception that proves the rule?!) I've had nothing but overwhelmingly positive experiences ( a LOT of them!) with people I've never met. Often involving quite a lot of money / expensive instruments and therefore trust of this unknown person. It's a great community of people who really do give bass players an excellent name. I'm sure other forums for different instruments may be the same (I'm not on any so can't really comment) but this really is a lovely group of people on here and I"m chuffed to call myself a bass player knowing that there's a lot of lovely people out there who also call themselves bassplayers! All good!

lots of bass whammy pedals on some of these boards! I picked one up today, good lord it's awesome!! having so much fun and coming up with so many riffs and ideas... annoyingly it means a bigger pedalboard on the horizon...

The stereo post was unintentional--I blunder my way across the keyboard. The meaning, I believe, is that once rock music (in this case Fleetwood Mac, which descended over time from rock/blues to strained baby food) was expressed by way of tunes like 'Don't Stop,' rock was in most ways dead as a doornail. Punk happened because it was needed.

If you're trying to make it sound like the original, I would lean more towards an overdrive than fuzz... and some kind of modulation pedal - I think it was a leslie speaker on the recording? What's on the board already? This would get my vote - https://www.gear4music.com/Guitar-and-Bass/TC-Electronic-MojoMojo-Overdrive/EY9 The Joyo Moonbase bass overdrive looks interesting too but not tried it nor seen any real world reviews. Little bit more expensive, but also tiny and perhaps worth a punt: https://www.joyoeffectpedals.co.uk/joyo-jf-332-moonbase-bass-guitar-effect-pedal-overdrive-jazz-blues?language=en&currency=GBP I'm also selling a Joyo Orange Juice for your magic number of £35 posted too if that's of any interest! If it is definitely more of a fuzz you are after, Chowny Fuzzster perhaps?

Kindle deal has ended for now. Standard Kindle is only 2.99 (I think) if you have a kindle/e-reader thingy. Thank you all for the nice things you said. Am trying to get the third one done (very different again but does have a certain band turn up for a couple of chapters) but am helping a friend by doing the edit on their brick of a book. Also the weather is nice, so spare time is being spent drinking rather than writing. P.S. I'm not quite as twisted as The Craft Rooom might suggest. You'd like me, honest. :)

In terms of the quality of the medium and allowing for differences in mastering, etc, CDs probably hold the advantage in terms of reliable reproduction - there's a neat idiot's guide level summary here: http://www.abc.net.au/news/science/2017-11-21/vinyl-streaming-cd-what-is-best-audio-quality/8693498 But for all that there are too many variables in the signal chain to laud one over the other, and in the end it's going to come down to personal preference (back to the point about super fans being the ones who buy most of the vinyl and a lot of them never actually play it, they just want the records). Vinyl will sound "warmer" if you have the right set up and want it to sound that way. Whether or not it was intended to sound "warmer" in the first place is another debate. And people get used to what they know - I know a lot of people who claim that high end audio equipment doesn't make the slightest bit of difference, based on them assuming that what they hear on their equipment is what the record sounds like and that's the end of it (I amazed one musician friend by playing a 5.1 mix of one of his favourite albums - he then came back and insisted that I play the early mixes of his new album on the same system, somehow assuming that it would magically transform into 5.1, and regardless of that, now understands that my hifi makes music sound better than plugging speakers into his laptop). It's always been the case, but I suspect that most people just don't care enough about differences in quality to seek out CDs or vinyl when streaming services have what they want. And it's not like MQA is setting the world alight either regardless of the quality (although a lot of that seems to be the clumsy licensing issues that have got the hifi community's back up...I'm seriously thinking of getting an MQA DAC before too long) So I think that CDs have got a while to run yet. But Jazzmanb may well be right in the long run, as the great unwashed simply won't be used to buying physical formats, and the ones that care enough about the sound quality of digital files will be able to explore that. What I do find interesting is the response of the cleverer musicians - Nine Inch Nails for instance understood very early on that there was money to be made by exploiting the super fans and made stacks of cash by issuing limited runs of new releases on vinyl and deluxe or special edition CDs.

You've obviously never seen me depping then......😂

Yep, these guys are awesome. Check out all their vids - they sound more accurate to the original songs than the current incarnation of Chicago themselves!

Absolutely agree with the OP I've bought, sold and traded quite a bit on here, and it has always been a very positive experience for me Actually, BC has helped me experiment with different gear, and find my "ideal" instruments and amps / cabs Only downside..... it has fueled my GAS about a thousand fold!

This post was clearly written under duress. Lads, dmcombe7 is being held hostage and I think it our duty as the BC massive to mount an attempt to free him 😀

Make a trip to bassbags.co.uk near Derby, lots of stock and their instruments are set up properly.

Tough crowd.

I think you'll find punk happened for a lot of reasons but mainly because a group of kids got the opportunity to perform for a load of other kids - aherm just like the fab 4 and others did in the 60s - and a couple of scallies from Manchester and Messrs Albarn and co did in the mid 90s. The fact punk was pretty aggressive and had its own fashion is no more seminal in my view than other genres over time - maybe a reflection of aggressive times in the mid to late 70s - a couple of my haunts as a early 20s youth were blown to bits, complete with packed crowds at that time - and I doubt a punk gig was any more aggressive than a Slade one in their skinhead era - although communal gobbling was a punk trait only...... The fact is Fleetwood Mac and their late 60s audience had developed musically so that's why the music changed - plus all the other influences of the time. It is very true that many of us do turn into our dads in terms of musical tolerance (I do remember mine being outraged - and I mean seriously and vocally so - by the JH Experience on TOTP doing Purple Haze and demanding to know why people couldn't play guitar properly, like Hank Marvin. I used to play in a band with people a few years older than me and some of them, excellent musicians, were firmly of the belief that music died at the end of the 60s and anything after is rubbish - they too are Hank Marvin fans. I like to think I have a fairly open mind when it comes to music and indeed I like playing bass across all genres and eras - having two children who are also big music fans and also play instruments is a tremendous way of being exposed to a lot of excellent music I wouldn't otherwise have heard or known about, whilst they grew up and developed their own tastes (spookily also varied in genre but slanted towards the dance/R and B side of things). i think we are in danger of being grumpy old men in this thread without maybe realising - and of course that's exactly what Mr Daltrey is!! A track off his new album came on the radio last night whilst I was driving - I have to say it was damned excellent - a pity my mind has him down now as a bit of a b*ll end as far as musical views are concerned - but I do recommend a listen - for such an old git he sounds bloody excellent!!

Traitor 👎

https://www.projectmusic.net/db-bass-embee-12-22871-p.asp

Thanks grangur. That’s funny I used to be called count bassy at school in the 80 s

Excellent use of “mellifluous” - you just don’t get that on Guitarchat!

Ooh yes. The maple board flows into the gold guard very nicely!

How do you mic a contrabassoon? That sounds like the start of a joke but I’m genuinely interested!

Hats off to AC - firstly for resisting the idea that good bass lines are complex bass lines (simplest is often best) and secondly for putting up with Bonio, who must surely be right up there as one of the most hypocricital, hubristic and monumental bell-ends of the twentieth and twenty-first centuries.

That's the equivalency, but it isn't analogous. A Fodera really isn't that much better than any high end ($1200 + ) bass. It's not a piano. 80% of the sound is the pickups and fancy wood doesn't necessarily sound or play better than ash or alder or even basswood.

If only there was somebody on here that was trying to sell one, and some sort of PM system that would allow you to chat in private...

What version? I’ve got one here to fit a Fender Japanese made 51P reissue. GuitarBuild UK make one for an original, but mine doesn’t fit well around the control plate, probably because the control plate is Japanese reissue sized! PM me if the Japanese one is any use..

Just that has made a world of difference!

I did the same 8 years ago. I tracked down the guy I sold it to on BC and he sold it back to me. YAY.

It's difficult to find somewhere that does the whole end to end setup including strings and pickups etc. Bassbags does this extremely well, so worth a trip to compare what they can do for you. I tried out a number of old basses in various other shops and wasn't hugely impressed, but it depends on your budget.

Funnily enough, I ended up finding what I hope to be a direct replacement for the old one, as mine uses threaded captivated nuts which are stronger than screwing in a wood screw. I started looking for a replacement wheel but I found one with the right dimensions on ebay. With luck they'll be here ASAP, and I can see if they work. This is them in case anyone is after some as well. https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.co.uk%2Fulk%2Fitm%2F282329357464

I'm not sure how looking at abused children was going to help him decide if he had been abused, I can't see many publishers getting involved with his next book if it contains that topic.

Just shows that the often dismissed talents of Mr Clayton are in fact greater than many give him credit for.

Don't you mean Scott's OMG LOOK AT THIS HOW WILL THIS COMPARE TO AN UPSIDE DOWN WASHING MACHINE FALLING FROM A CRANE Bass Academy?

Choose a piece that you like, preferable not too 'far out', from the jazz 'standards'. Something like 'Autumn Leaves', 'Oh Lady Be Good', 'Satin Doll'... The list is long. Using the chord chart for the song, play along to a recording, playing the root note of each principal chord, on the 'One' beat of the bar. Once that's going smoothly, try slipping in a note on the preceding beat, one semitone lower, so as to climb into the root note from below. Not every beat, but now and again. Try the same thing with a semitone above the target root note, too, and mix 'em up. If you can get that to work (slowly, at first; a 'slow-down' piece of software could be useful...), then add the beats in between the 'One's, playing notes from the chord. Once this notion 'mastered' for the tune chosen, pick another tune and do the same. After about a dozen or so, you'll start to 'fly'; to be able to hear what's coming up and play whatever you feel is good, not necessarily chord tones. That's when it really starts to become fun. Hope this helps.

How could I forget and how come no else has mentioned the amazingly talented (and often under-rated) Queen's John Deacon and Duran Duran's John Taylor?!

Pickguard arrived in the post today - Cheers @Jono Bolton so while I wait for the other chrome work to arrive...I stuck it on.

Whatever the hiding place was you got the PA out of, just put your missus back in it. Job done!

Looks like these are coming along nicely. Thanks for the pointer to the TalkBass thread. Hadn't seen the new Rocklite rosewood alternative, which looks very cool. Also, if you are looking for the 'hidden' Rocklite page, try: https://www.rocklite.co.uk/phdi/p1.nsf/supppages/1848?opendocument&part=9

Before I very stupidly sold my Road Worn P, I did notice that it was physically lighter than most other Ps I've had, and played acoustically was very loud. In fact, if you held it forward there was an astonishing amount of sound coming out of the back of it! This is a 'real' phenomena I'm sure, but whether or not that translates into any difference whatsoever at the pickup..? I'm still sceptical.

Your face says it all...what a show!Are we having a good time? Where's the next gig...

Fleet (Hampshire) A bit of a departure, this one. Week #1 DDD is the singer who wants to put together an Elvis Presley / Buddy Holly band. Now I've been here before, and I know (from bitter experience) that you can't put together the band and then look for Elvis ... a bit cart-before-the-horse that way. So here I am with the Elvis I need, he already has a drummer, I play bass, all we need is a guitarist, how difficult can this be? DDD says "let's catch up after Easter". I ask him for some YouTube of his own performance. Week #2 DDD sends me YouTube links of him fronting a serious holiday-camp-style 60s tribute act, full matching silver suits, the whole thang. There's not much of it, but he can certainly sing. He can't find a guitarist, do I know anyone? The email ping-pong continues, I suggest we meet face-to-face and have a chat over a beer, maybe even jam through some of the proposed material. Week #3 DDD wants to hook up but can't do so for a week or two. He starts copying the drummer on the emails. Have I found a guitarist yet? I'm currently chasing FIVE of the buggers. Week #4 DDD circulates a short list of a dozen songs, six each by Elvis and Buddy. I've found just one guitarist who seems to be up for this. We all agree to meet the following Friday. Week #5 My guitarist is up for it, but needs another week to prepare. Week #6 My guitarist is no longer my guitarist. He's decided to stick to bedroom widdling. At least he has a more realistic view of his abilities than most guitarists I've met. Week #7 DDD says he will try again to find a guitarist. I make supportive noises whilst quietly thinking "Game Over, move to radio silence". Week #10 (yes, 10) Things get surreal. DDD emails out of the blue - would I be interested in playing a charity gig on Sunday during the BH weekend? My reply was, and I quote: Deano can apparently bring in both a guitarist and a keyboard player. It's a MacMillans Cancer support gig at a big pub in Fleet. That's all I know. There's nothing on the Web about it and the pub is closed for refurbishment. Several days of email ping-pong follow between the three of us regarding whether or not there will be a PA, will there even be microphones, is back line provided, etc. What could possibly go wrong? Halfway through, Deano adds a fourth person to the email trail - who he? Is he a guitarist? Is he a keyboards player? Week #11 Silvie and I drive down to Fleet. We're taking no chances ... we've left the van fully loaded from Friday night's gig, with complete PA, bass rig, etc. in case we turn up to find a child's karaoke set being used as the PA. And yes, I've seen it done. At the venue we are greeted by the sound of very loud, very live music. There's a large beer garden alongside the car park, a very serious PA is in use complete with proper sound engineer, and the band before us are a professional functions band. Hmmmmmm. Whatever next. I meet the others for the first time. Deano and Roy (the drummer) are relaxed, the 'guitarist' is laid back to the point of limbo-dancing under toilet doors. I say "You're the guitarist, right?" and he replies "Actually I'm a bass player who dabbles in guitar". Oh dear. I ask him if he's worked through the set list. He says he looked at it briefly last night. "But what about the key changes and so on?", I ask him. "What key changes?", he says. Oh dear, oh dear. "Are you going to be OK?", I ask him. "I'll be fine" he says, "I can play anything, and I play harmonica too, and of course I'll sing a few of these. If I'm in doubt, I'll just copy what the other guitarist does". Oh dearie dearie me. We set up on stage and - inevitably - the layout requires me to stand between the two guitarists. In the event it probably doesn't matter, since the sound guy turns down the guitarist as soon as he hears him play. So, how did my audition go? Judge for yourselves - here's the edited highlights with all the cockups skilfully and surgically removed:

Just back from holiday and The Craft Room was my only read for the week. The book was absolutely brilliant. Different subject from Weekend Warriors but i could see the similarities in humour coming thru. I lost count of the "I wasn't expecting that" moments and things took me completely by surprise throughout the book. I literally didn't want to put the book down after the first few pages but being on holiday meant things had to be done. "Relatively" speaking i'm glad i don't actually know you Dave. I'm now looking for the 3rd installment in your writing career Dave. Thanks for giving me 2 off the best books i've read in ages. If anyone out there is looking for a great book to read then get one of Dave's Both brilliant, both interesting and both make you want to read to the end without a break. I'M HOOKED Dave. Thanks Dave