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Well it turns out it’s never too late to give up on your dreams. This is my band from the 80s with yours truly on bass!

Right. Been away all weekend in a studio with 20 guitarists, a drummer and a studio engineer for a Jam weekend. Took the k10.2 and borrowed a preamp with a valve in it. It lapped it up. Sounded brilliant. Was loud enough to balance against a drummer 3 feet away in a room 6m square, with up to 3 guitarists all thrashing it through some pretty big expensive amps with 2x12’s and 4x12’s plus vocals PA. Didn’t flinch once and never felt I didn’t have enough welly. Stuck a lot of drive on the Preamp pedal - and on one song I hit a massive low E at one point and got stares from 3 guitarists, a vocalist and a drummer who all had a “wtf where did THAT come from?!” Chuffed.

Here's where I'm up to. Reshaped Headstock, decal added, tinted neck, sprayed scratchplate cream. Just a bridge ashtray and then I'll decide if I wanna smash the body up a bit! It's been fun.

And here’s the actual Stingray in about 1986. I’ll be wheeling it out again for the album launch gig at The Troubador on 7/9/18!

Some people become musicians with a deep abiding love of music as their main motivation, there are also plenty who see playing an instrument as a good way to be perceived as cool or impress members of the opposite sex. Different genres have different skill requirements to get to the point where you can start making music with other people. Of course I'm sure someone is going to find an interview from 'The Strad' where a noted classical musician when asked what got them into music answers along the lines of "Well I started out playing electric guitar in a rock band in high school, but took up the viola when I realised all the hot girls were queueing up backstage to fellate the string section the first time the school orchestra got through Beethoven 2 without trainwrecking during the trio."

Now's the time to spring like a panther: send your drummer down to audition. When he gets the gig he can tell them he'll only join if he can bring his friend (you) in on bass. Then you both turn up for the rehearsal and sack the other band members. Then book some gigs in this band's name; leave it a while then cancel them at the last minute while savagely insulting the bookers down the phone. Then announce the band is folding. Arm long, vengeance total. Proper job.

https://www.facebook.com/giginked/ our very own @TimAl sorted me a new look

From such a great album and musician. Mark Kings bass playing is just superb..

Sorry guys, I get it. Cue or que, drummers switching beats and not paying attention makes our job twice as hard. Blue

There was an awkward silence, and the party-goers paused their revelry to stare. It was only then I realised the heart in my mouth wasn't mine...

OK - rapidly onto the go/no-go stage. Basically, if I split the sides when bending them, then the project is dead. So I'm going to do that early on. A few tips if anyone is thinking of tackling their first acoustic guitar (some of which will apply to acoustic basses too): There are lots of 'I didn't know that' factors There are lots of things that aren't as they seem Such as that a flat-top guitar is usually not flat. Almost all of them have a slight dish - typically 25 feet radius The backs are also not flat. These are usually dished to around 15 feet radius There are lots of pretty essential jigs you need to make. Body mould; radius dishes (25' & 15'); go-bar deck to mould backs and tops to their respective radii Martin made a bracing pattern in the 30's (?) that happened to work and 90+ % of acoustic guitars use this EXACT pattern I follow every single hint and tip that successful luthiers suggest. No rebellious-against-convention Rogers here! So - the sides. First, I found my dreadnought mould that I knocked together for Chris's build. I then put a card former in with the back and front dimensions marked in a straight line: OK - so that's easy. So just cut the blank with that straight taper, right? Wrong. Look at what a straight taper does seen from the front: Imagine the left side doing the same thing and you have a 'v' shaped back So the shape of the sides needs to be more like this: I will fine tune it with some sand paper on the radius dish (don't worry - I will explain if it gets that far!) But the next stage is cut the sides to that paper template: And soak them. Am I using MrsAndyjr1515's leftover bubble bath water? No - I am following a respected acoustic luthier's conviction that fabric softener make a big difference to the bendability of figured woods. I question not. I just follow. And on goes the bending iron: So in the next couple of hours, the project continues or ends. Wish me luck

Every day I thank God I'm currently in a band with a truly great pro drummer who has perfect timing, can tune his drums, sounds fantastic AND can do what he does quietly when necessary. He's a nice chap, too. Apologies if this is annoying. But I've played with my share of crap drummers over the years. I deserve this!

Well I hope you are all happy with yourself. If it’s not bad enough having the loss of Barry Chuckle to deal with, Rock n Roll is a tall order.

I would guess he just likes a P Bass or that’s what people want to see/hear him play at a session? I don’t think it has anything to do with being offered money or falling out with anyone. He has always played a pretty big selection of basses by different brands, he used a Bongo for a while and I saw him on the internet somewhere using one of the new passive MusicMan basses. He used a 5 string single humbucker Lakland with the pickup in the sweet spot for a while as well as a custom made 5 string fretless Stingray copy so I guess like a lot of pro players he used whatever suits the music and the artist. I have seen him use a Moon jazz a lot too and no one really associates him with that brand or a Jazz Bass.

Why would a bass need to be recyclable? They live forever don't they? In a "journeyman" existence, slowly being sold/traded amongst the BC collective...

I suppose the upside is, anyone can go onto YouTube type in Snarky Puppy and any video they see is going to be awesome.

I must admit that I often cringe when we get to that line in Nite Klub: "I won't dance in a club like this, all the girls are slags and the beer tastes just like p*ss". Not because I have a problem with the lyric -- I don't, and it's a brilliant tune -- but because the vast majority of our venues are very nice places with decent beer and pleasant patrons

Interestingly nobody here has mentioned the idea of keeping your own sound? For me the key thing is that if I’m using my own DI box I’ve got more control of my sound at all times. If I’m working abroad I often have no idea of what amp i’ll be given (sometimes great / sometimes awful) and what DI box might be provided. I’ve played what I consider to be good venues who have provided £10 DI boxes....! If the amp (and or DI) is absolutely shocking then at least I have the comfort of knowing that the sound going to the FOH is excellent because it’s from my own high quality DI box so I just have to suck up the onstage sound. Secondly with an external DI box you can send a signal to the FOH which is ‘full’ and then EQ the onstage amp as required - in some venues this is really useful without changing the FOH sound. Yes you could argue this could be done with a pre-EQ switch but often for me who knows what the quality of the in-amp DI is. Thirdly - strikes me that most amps aren’t going to contain the highest quality DI anyway so spending money on a good quality DI seems to me a good investment long term. Fourth - having my own DI allows me to record myself at home and make sense of exactly what signal I’m sending to the FOH in a live situation. (Fifth - this is a niche point, but if you use an external DI you can then use the amp DI pre-eq to record the bass live as well - often do this to check my sound and it’s a useful thing!). If you always use the same amp and you like the DI then great. I don’t so prefer to keep my sound in my DI rather than in an amp. **I’m just sitting on the train home after a tour of Germany, DI in hand luggage. Different amps (see pics) every night of last week but same sound with my DI. Works great for me**

My heart was in my mouth as I sidled into the crowded room wearing nothing more than a smear of lipstick, a tri-lobal posing pouch and a pair of shiny, patent leather dance pumps.

How many chisels do you actually use though? If I could recommend but one tool, actually three it would be a wetstone grinder a 1000 and 6000 grit waterstones. The grinder helps you keep a tool be it a chisel, plane iron or carving tool in a condition where it is easy to sharpen and sharpen quickly. If you can do that then you are more likely to keep your tools very sharp and honestly that is the key. Admittedly quality tools can hold a good edge for longer, when I was starting out I saved up and bought myself a set of four Norris planes at huge expense, I used them for a while and they were very good but I stopped using them because I soon learned that my cheaper Record planes when set up correctly were almost as good. I sold my Norris planes some years ago and I have never come across any job that I really needed them for. I suppose I might take it for granted that I know how to make a plane work well, maybe that is something that isn't common knowledge? Or sharpening, other than the wetstone grinder no jigs, just a quick way of getting the correct angle every time first time. If enough people are interested I could write a how to on those?

A chap we know uses steam. I seem to remember that he pointed to a device that was basically a hot water tank that you hold the piece over before using a former. Kenneth Smith Ukuleles Maybe worth an enquiry? He lives in north Derbyshire, Clay Mills if I recall, and is a master joiner, a bass player and easy to get on with. He gave us more information than we could take in each time we visited.

I was doing my first summer season back then , I’m old now but was a great time to be learning bass lines .. Remember playing loads of Nik Kershaw in our sets ..The Riddle , wide boy .etc Also Level 42 , Toto , Prince and many others of that era ..I’d only been playing a couple of years so there were some challenging basslines to learn for me at the time .. I went on to work in many bands after .. but think this was my favourite time being a bass player .. skin tight jeans , yellow converse and a bleached mullet .. the fashion however sucked 😀

I've got a TC Mic Mechanic and it does provide a gentle bit of assistance. As it happens I only use that bit of it when I have a bad cold. But the other bits - the D-esser, compression, and the excellent EQ built in is superb. Far better than on most pub grade desks.

Good point re the TB position. I live the TB tone but I do not like the look and the neck dive even less. Food for thought. Re the body, true it would be easier and I could put it together again as a P. I like no finish (well just oil), and a new body would give me the option of just going oil finish. Going to let it sink in.

Not sure about that. It might make you a happier player, maybe. It will make you a poorer player too. :p

Remind me never to p*ss you off....

I’ve had to bow to the inevitable and accept that I’m playing more and more 9th and 13th chords and gettin*dangerously close to playing jazz. As a result, I’ve been hankering after a jazz box for a while and had pretty much settled on an Epi Joe Pass Emperor as being the right sort of blend of money, quality and value at about £475. And then I spotted a black Epi ES175 in Sixty Sixty on Denmark St at nearer £600 and that gave me a bit of a dilemma....nice guitar but a bit more than I’d planned on spending....which was then solved when I spotted this beauty in Peach Guitars in Colchester. £499 including a Hiscox case for a four year old Epi 175 Premium (that’s the one with the Gibson pickups). It came beautifully set up and sounds fantastic. I love it. Just needed to share....

Wotcha talking about..that's a self portrait I'll have you know!! 😂

Surely something "offensive" is something which is defined as contravening the overarching social/legal/personal/sexual norms of the day/region/person. So, I suppose, yes nothing is intrinsically offensive in a way that you might be able to apply a physical test to it - but only in the same way that nothing is intrinsically "red": that is simply a word which we use to describe a phenomenon that satisfies certain criteria. I'm not sure how useful it is focus on this point. Two thoughts occurred to me while reading through this thread, as a white male of just less than 40 with a very foreign name and 50% Asian parents: 1) As a youngster on holiday, the wee chap who came up to me and announced "you're a Paki" was using that language deliberately to offend, intimidate and injure. The word may not be intrinsically offensive but his use of it was deliberately so. Ditto the woman who came up to my mum in a shop, pointed at my dad and said "my father was killed by one of them in the war" (one of what? - no epithet was used but the insult is explicit.) 2) A more trite example. There are probably over 30 of us at work who share the communal milk. There are no rules applied to its use but if someone came in and used all of it to themselves every day, it would not make them a champion of libertarian values: it would make them a selfish oaf, unwilling or unable to see the consequences of their actions on others. Which is my long-winded way of saying that while I would in no way support a ban on any language that pub covers bands might choose to use, it has to be acknowledged that language is a phenomenally powerful tool, even a weapon, and those that use it indiscriminately (or childishly seek to offend simply for the sake of doing so) must be prepared to accept to the opprobrium of those with a broader scope of experience.

Can't argue with that

Best drummer I ever gigged regularly with was an absolutely brilliant player but a complete tool. He once turned up at a wedding reception in a room that we knew was going to be tricky (high ceilings, marble floor, nothing to break up sound at all) with two kick drums and a China ride on either side of him and totally leathered the kit all night. The day we sacked him it was the biggest relief ever. Impossible to work with idiots like that.

I give accent ques to our drummer. I'm struggling with him following acknowledging my ques Blue

In my opinion - the best drummers are the ones who watch the bass players fingers and time their drumming strikes to those fingers, and the best bass players are the ones who watch the drummers sticks and time their bass playing to those stick strikes - if you both watch each other then the groove will impress everybody - no need to do anything too fancy.

Drummer threads that start with 'he's the salt of the earth but...' He ain't being paid for that.

OMG, that was you?? I remember we had a spirited discussion on partialism before adjourning to the orangery for Swarfega and cling-film play. Small world!

Woah

Being a bassist and only medling in acoustic I find this really interesting - I used to have a 80's Takamine dreadnaught and never fell in love with it, killer strumming, not so good finger picking... I later picked up a OM sized acoustic (actually think it's a custom luthier copy of a 30's Martin, no idea, sound stunning wasted on me really) and it's like chalk and cheese - sounds beautiful and lets me do the finger picking type stuff - but like you say not so good at strumming.

Absurdly, there’s already a sage green Player Jaguar for sale in the preowned section of Bass Direct. I’m tempted but will hold out for a tidepool... http://www.bassdirect.co.uk/bass_guitar_specialists/Fender_Jaguar.html

not now that I'm older. In my youth I was pining to have a Fender, but only had cheap basses. A Cimar Jazz, a Vantage thru neck,a Hohner B2A. Now I have three Fenders.......I often use my SX Jazz. I WISH I still had the Cimar, Vantage and Hohner ::)

This ACUS One ForBass is a bit unique and not that expensive if you consider the 400 Watts (RMS), the 10" high excursion (which means that it can handle more low end than a conventional 10" speaker and is a well known fact in the high end hi-fi), the 3 independent channels, the built-in reverb effect, the compressor, the notch filter and the ability to be used with an electric bass as well as an EUB or a real double bass. The only other competitors with the same specs are in the same price tag ; the Schertler Lafaro and all AER bass dedicated combos being way much expensiver. The GSS are really cheap, but not powerful : http://www.guitarsoundsystems.com/catalog_gss-bass-and-upright-bass-combos.htm Take a look here to see which combos Gollihur sells and their prices : https://www.gollihurmusic.com/keyword/2-COMBO_AMPS.html That said a double bass sounds better with smaller speakers like 8" or 10" (a 15" sounds awful with a double bass and a 12" must be very precise to sound right) and as I wrote I'm looking for something with the same built quality and specs as my AER BassCube v1 (v1 stands for first version with 3 channels, the second generation having only 2), but way much lighter and this ACUS One ForBass meets everything I'm asking for. Concerning the old technology in AER amps : why change something that is working perfectly and their service is just fantastic. I sent my BassCube to their factory last year and everything that was defective or subject to become defective has been changed for a ridiculous fee and the amp has been upgraded to the last version (are you sure it's an old technology ?) for free !!! And I was asking if anybody ever tried an ACUS One ForBass to notice that the thread is simply derailing (as often, hélas).

Spongebob - if you pre-order via Amazon, you'll only be charged the lowest price they list between when you place the order and the release date. So, if you pre-order at £40, when the price drops to say, "£22.99" you'll be charged that price. If it fell to "£18.99", you'd be charged that price. Basically, you're charged the lowest price advertised.

I would go with the parchment, looks great

Thanks everybody for your help and encouragement, this has been heavy going, I'm a bit out of practice but you guys make it all a lot of fun, something easy like a Fenderbird next time! OK maybe not. I gave the necks a sanding first this morning and gave them a dose of clear grain filler; same as the black but a lot nicer to use. I set those aside to dry and moved on to the tops of the bodies after yesterdays session. They looked so much better after being left overnight, first job was to remove the tiny aris or sharp edge where the lacquer climbed the side of the tape leaving a raised burr, I used some dry 1200 grit very carefully and it came off really well and felt pretty good all around. I then got a scalpel and used that as a scraper to clean up the top edge of the binding but only roughly as I would probably get grain filler over the edge later on. Once I was happy with the top I needed to flip the body to work on the back so I made a couple of stands to screw into the cavities to protect the fresh paint. That allowed me to give the back and sides a light sanding and give them a coat of grain filler, that was put aside and I sat down for a cup of tea as you do After the necks had had 4 hours I sat down outside and started to clean them up with some 240. It looked great, no need for a second coat so I set them aside and when the bodies had 4 hours I had a go at them, they were the same so apart from some masking I'm ready to whack some sanding sealer on first thing and hopefully get a couple of coats of clear on the necks and the sides and back of the bodies. I will be so glad to get them sealed just to stop that binding getting dirty, you only need to look at it sideways and there is a dirty mark on it! Fresh grain filler Ready for spraying after masking

As I’ve still not found the perfect (or even near perfect) electric bass yet I’ve looked at some of these basses with some interest for some while now and guess what? Not looking at them anymore.

I can't disagree. I can add something which is probably something you don't come across much. I avoid teachers mainly because of my experience in school. I was unlucky. Because I had been assessed as having above average potential in primary school (late sixties), I was steered in various directions that were deemed to be suitable for my ability. My school report cards usually came back saying "Needs to apply himself. Capable of much more." On top of that, we moved as a family and it resulted in me attending three different primary schools and two secondary schools. My dad wanted me to do university as well. Not once could I see what I was supposed to get out of the academic education that was being provided for me. I was resentful because I only wanted to do stuff with my hands but manual skills were said to be beneath me! Can you believe that? I proved them all wrong by becoming an apprenticed aircraft mechanic. It set me up for life. I have no mortgage and I am now semi-retired and able to indulge myself. Without giving you a complete biography, I'll just say that I ended up with a real hatred of authority. It is a handicap. Trouble is, even as an adult, I have had people who try to teach me without me actually asking them to and I respond negatively in some cases. Anyway. I don't have an agenda to fit my music into. I just do it for fun. I learn in a haphazard way but until I have an actual goal, I can't apply myself even now. If I ever get my little fantasy band up and running I will then have targets to set. Only then can I truly apply myself. I might give you a shout then if you're still in the education business.

I'm open to that being the case if I've overlooked something but your going to have to clarify exactly what "problem" your accusing me of being part of. If you'd be willing to outline where anything I've said could be construed as oppressive I'd be really grateful, because I'd like to be afforded the opportunity to address it.

Ohh yeah say sunburst again!!