Leaderboard

Surely I can't be the first person to mention Anita's older sister. . . Hylda Baker?

I'm of the opinion that, as a band, one plays exactly how one wants to. Nothing is sacred. Playing like the original is fine, too, if that's what the band want to do.

I saw JB in 1971, with Bootsy Collins, and again some time in the early 90's. Those performances were chalk and cheese, sublime to the ridiculous. Throw his later career in the bin but he was at his peak and world class for about 25 years. James Brown's career was a story of 2 halves. In the first he certainly was The Hardest Working Man In Show Business. In the second, when he was gigging into 70's and with his many addictions he was way past his best. But in the 60's and 70's there was no one who could beat him. He was the guy who inspired every one. There wouldn't be Funk without JB or Hip Hop. Don't write off a whole career based on some of his later, woeful, performances? When he was in his prime he was a unique and original talent, a force of nature even.

Well - huge amount still to do, but definitely at the end of the beginning! The next bit on the body is getting a router out and routing the top and bottom binding channels. I might spend time on the neck before getting to that terrifying prospect!

Yeah maybe, but at least it gets people talking about great music. I worry when I see threads that ask "which way should I point the knobs on my bass for it to be aesthetically pleasing"..

Great thread, I can relate to many of these! 😁 Last night, towards the end I was mainly thinking 'my toes are going numb, I wish I hadn't worn these high heeled boots'

In the best case I stop thinking (no comments please) and am just amazed how the bass plays itself. In the worst cases, why am I here? when will this end? how much longer do I have to play for? Al the comments in thread so far have gone through my mind at various times

My favourite cover, nothing like the original, and I won’t even mention the snarling growley bass line, oops

I'm starting with this one....

So recently a fellow basschatter sold me a 1981 Ibanez Roadster fretless, the price was very fair and I was made fully aware of the issues it came with (albeit exaggerated as it really wasn't all that bad!). I said I'd post a few pictures once done, so here they are! The Bass didn't actually need a huge amount of work, and I had initially intended to re-finish it with a natural stain of some variety, however as I already own a naturally worn black 1979 Ibanez Roadster fretted I've decided (for now!) to leave the finish as is in its black, well used, glory. The truss rod needed freeing, after a spray with WD40 and leaving it to permeate for a few days the rod is now free enough for adjustment, however the neck is beautifully straight as is. The jack input has now been relocated correctly to the side of the bass instead of the front as it was previously and the whole that was left has now been filled with a tone pot so the bass is now V/V/T/T as it should be. A new truss cover has been fitted (couldn't find a brass 'Roadster' one so a nice black one sits there instead). I found a couple of similar knobs as per an original Roadster and after a full set up and polish the bass is now fully functional and plays great! The cost of the parts you ask? Under a fiver. The time it took you ask? About 2 hours. All in, it's now a beautifully playing, mostly original (bar truss cover) 1981 Ibanez Roadster fretless! Very happy indeed, though I was expecting a slightly longer project so now I'll need to find something to take up my spare time! Russ.

Some of you may know my cousin, George...

I have had my fair share of USA Fenders and unless you can try one secondhand before you buy I would stay clear. I think all of mine have had quality issues of some kind and never felt very responsive. I don’t think they are worth the money new at all. If it was me, I would go Lakland or a chunky necked MIM 50’s (both the normal and roadworns I have played are superb) or I would look at the Nate Mendel precision secondhand. I don’t think anyone has much bad to say about them, they look great and Scott Devine seems to play his a lot more that a Fender Custom Shop which says something to me. We all like different feels and look for different qualities though, so really it’s the same old advice of try a load and see what sticks.

There is a 50`s P bass on here for £500 and that is crazy money. They are great basses and I don`t know why it`s not gone.

You silly, twisted boy, you.

Once the back is glued on is no time to remember that you've forgotten something so this is a time for a pause, note the remaining jobs, do them, pause again. Hopefully, I've paused enough times! First there's the cross-grain maple strip across the join line. Because the back has a double curvature as it slims from the main chamber to the neck, I let the glue for the strip set while bending in this direction by using a fillet underneath at the bend axis of the panel: Then the all important label In the past, I've marked the top at this stage or similar and - because it's pretty much final thickness, those can be difficult to get out. So for the clamping, I cut out a comprehensive set of clamp cauls, chamfered so that the edges don't dig in (fingers crossed!): And then - after one more fit check - the 'well, it's too late now' step :

I googled 'Queen of Soul' and apparently it's definitely Aretha Franklin. 🤪

Elton John?

Why don't folk who disagree with the OP just nominate their fave soul singers? That way I might discover someone I'd previously not known then this would be an extremely useful thread, which would in turn placate those who think it worth contributing to what they see as a pointless thread.

Oh I hate that with such a passion - all those vapid breathy girl singers that do slow boring versions of songs that end up on adverts for banking.

Prefer the Partridge version...

I'm not big on labels. They just cause endless hair splitting, as we are doing in this thread, but Soul in the 60's was a thing. With many influences and a level of creativity seldom seen since. Aretha was the best in that genre and for many since. I've seen Anita Baker described as R&B and Urban Soul. Not labels I know very well but I guess that's not the same thing. In reality both singers deserve as many superlatives as we can come up with.

They are Mother of pearl, it's a slice of a shell, it's 1.5mm thick, which sounds thick but with such tiny pieces it gives some strength while your cutting it which is handy. A tip if your thinking of doing this, clean the floor meticulously before you start because tiny bits will flick off the end of the blade as you cut it free despite your best efforts to hold them down. Fitting them, marking is the important bit, I do it just like I do with the fretboard blocks: In the picture above where I am assembling the cut pieces, well they are actually being assembled upside down and superglued to the paper. When I'm ready I will cut very carefully around it with a new scalpel blade then stick some masking tape to the headstock and to the top of the mother of pearl bits. Then I will superglue the dragon masking tape to masking tape to the headstock. Then I can mark firstly very gentle then harder the outline of the dragon onto the headstock. Once that's done peel off the surrounding masking tape, that will show you if you have missed any bits, then with a sharp chisel pry the masking tape off the headstock and finally peel it off the dragon. I then rout out the outline with a 1mm router bit in a Dremel in a stand (I have a 0.5mm bit too but it plain intimidates me!!), I cut the line out so it actually disappears, yes that does leave a tiny gap. Then I remove the rest of the wood with a 3mm bit and clean any tight corners with the tip of a scalpel. Finally I have a bag of dust saved from sanding the fretboard, I mix some with a dollop of epoxy to make a thick but runny black mess and paint it into the hole in the headstock and fit the dragon. There is a little oozing of the black gloop through all the gaps but what I do then is dab what's left of the gloop onto targeted parts of the dragon to fill any potential voids. The next day I sand it down using a sanding block and examine for any voids and refill if need be. That is very easy on a black headstock, the filled gaps will be invisible once it's been finished but on a paler wood you need to take a lot of care to fit the parts very accurately so any gaps are merely hair lines, that is much more demanding but if you just take your time and think before cutting then it is just a matter of time and anyone can do it if they just think first. It's easier on a single piece inlay than a multi piece which may need to be fitted in stages like marquetry. Also with a lighter wood you still need a tiny gap around the inlay but as small and even as you can get it, you may still want to use black powder in your glue to emphasis the design but use masking tape around the hole to stop the gloop staining or getting into the grain of the wood. The top and bottom of it is that it's a fiddly job that will be no easier for me than it will for anyone else, the trick really is just to take your time and think about the repercussions of every cut if you're having difficulty fitting a corner in, as in if I cut that will it open up a gap somewhere else. My biggest tip would be as hinted above to start on black headstocks, they can hide many sins and you will soon gain confidence to have a go on other things and it really is a lot easier than all that may sound

If your thoughts aren’t like Bowman’s journey through the Star Gate near the end of 2001: A Space Odyssey then you are doing something wrong... ...or don’t you all take acid whilst playing these days?

When I glanced at that photo I thought it was a cake with candles on at first!

Anita Baker, Queen of Jazzy Retro-Nuevo (You had to be there, with 8 million others)

Ann Peebles for me, you don’t often hear her name said, but she plain slays. Not going to get into the King/Queen debate, but I can see this happily transforming into notable others, who maybe should have had the title, bit like an Olympic final, but it’s the music business so no drug disqualification.

I think it's stupid anointing people with titles like this. It's somewhat self-aggrandising of whoever does the anointing. Who appointed Pervis Spann (who?) as the arbiter of who was or wasn't soul royalty? Personally, I think she had a jolly good voice. I think it would be idiotic to have a title that was bestowed on her by some long-forgotten DJ get in the way of that.

Sorry for the delay, I had no tear out at all but I used shallow passes. What I have done this time radiusing fretboards was to just sand them and to be honest I prefer that way as I seemed to have much more control over the process, it only took 10 - 15 minutes each. Anyway if your using a router run it down the length of the board not along it rather than across and you should be fine and do three shallow passes rather than one deep one. Stop just short of your goal then fit the mother of pearl and sand the lot down as one. It's easier to do than say

If you want short scale and lightweight, they won't come any lighter than a Danelectro Longhorn. If you can live with the styling of course - the quirky shape was part of the attraction for me.

+1 on the Punk sound. Unless you are trying to redefine the sound of Punk bass I'd stick with rounds.

After Jon Cleary and the Absolute Monster Gentlemen covered the Meters song Mo Hipper, Art Neville said he wished their song, the original, had sounded more like Cleary's version. PS Just looking through the songs and it was Just Kissed My Baby, not Mo Hippa, duh!!

Agree with this completely. The Sire V7 is imo a step up from both the Squier and the mim. Have you checked out the new 2018 G&L JB tributes? They look very tasty at a good price point.

A decent, basic, beginners amp with a good stand and amp for £100? Regardless of the wonky plate, if it plays well, that's a good deal. (just spotted - it's a guitar amp though...)

Voted! Extra credit to Douglas for this:

For those of you who don't know - Amazing. This is so accurate.

If you asked that question to 10 people in Somerset, yes, we would know the answer to that. "Did they both sing with the Wurzels?"

I hate pigeonholes.

I’m of the opinion, if you are a covers band, you play songs exact or very near to the original. If you are covering a really well known song that has a specific riff or solo i.e. Black Dog, Walk This Way etc, it needs to be bang on IMO.

Looks a bit like the D Bird head; or is that the other way up? Nice either way!

No I believe you. You are definitely minus the bass...

I really enjoy trying to rearrange a song in a different genre, and trying to convince my band to play it. Sometimes it works, and it ends up in our live set. In fact, I prefer that to trying to write a new song from scratch!

lol..can't say I'm much of a Stereophonics fan meself....takes all sorts eh?

Today I worked on the other two fretboards, I'm using 8mm mother of pearl dots, this believe it or not is the very first time I have used them, how simple are they!! Drill and fit, sand and job done. I cut the boards to size and started to think about binding them, I bought a couple of rolls of plastic binding for them but decided to use Sycamore (very like Maple) instead, so I did and very nice it looks too. They've had a coat of Lemon oil and they'll get a couple more over the next few days. I also cleaned up the neck blanks, I think Cherry was a good choice, more subtle than the Gibson laminates

Great song, great band

Ooh, got mine done. I'd tried a few things & never got anywhere that I liked. Then on Sunday I was playing my Seaboard & looked at this pic again. I came up with the chords & hook, so played them to a metronome, then tonight I added more strings, some bass and what I think might just be an appropriate drum pattern. ⛱️

Not a bass I know, but a cool story so thought I'd share. The guitar is an EKO Ranger, made in Italy in the 1960s. While it's nothing really special in itself, it has great sentimental value to the owner as he has had the guitar since new, when it was given to him by his wife as a present. Disaster was just around the corner though as early on he tried to fit an output jack to the lower bout, unfortunately instead of fitting an endpin jack, he decided he was going to fit it on the lower bout... in the thin side wood. So when he came to drill for it, the side split and it generally made a mess. He repaired it, but the fix was....umm how shall we say - less than professional! So I was asked to put it right. Here's the mess, while it's certainly ugly looking now, it's about to get a lot worse. Some sanding revealed the repair, there's wood filler, screw holes and a piece of plywood around 3 times the thickness of the side! You can see by all the light coming under the straight edge here how far it's been pulled in and distorted. Without drastic measures (coming up!) nothing can be done to make this look right again. Obviously having a 1/4 piece of ply stuck to the side of the guitar is less than ideal also... Problem solved...an extra sound hole (joking of course). In case it's not obvious, here I have cut out the damaged, distorted, ugly wood and removed all traces of the repair. Here's the "repair" I dug out. As mentioned above, he used a very thick piece of ply, then drilled holes in the side of the guitar to insert screws to pull in the repair to the side. It was never going to work and there was still a decent sized void between the ply and the side, so he filled that with expanding polyurethane foam! Now onto my repair and filling the large gaping hole. The best material to fill it with (and any hole in wood) is wood of the same species, being a guitar builder I have no shortage of Mahogany and some of it is quite old, meaning it's very stable. It's also nice to replace material with wood of a similar vintage. But first I need to make a frame to support the new patch of Mahogany. I also make this frame out of strips of vintage Mahogany, making sure the strips are a good deal longer than the patch to give plenty of gluing surface. They also need to be bent to match the side of the guitar, this is done with steam (and patience!). In this picture you can see I have bent all the frame material and the patch itself (on the left). You'll have to ignore the dodgy pickguard on the guitar, I'm guessing that's another story! Here's the frame all glued into place. I used traditional hot hide glue, which is exceptionally strong and period correct. The strips are glued to the side of the guitar and also to the kerfing on the bottom edges. Now I glue in the patch, using a caul which I made up to match the profile of the side, this is made up of two pieces off a body blank screwed together to give the required width. This caul ensures even pressure during the glue up. A nice tight fitting patch all glued into place. It needs to be a tight fit as if there were any gaps you could get problems with the patch "telegraphing" it's outline through the new finish over time. Fortunately no gaps here, just a few lacquer chips round the edge which will need to be taken care of during finish prep. I mask off anywhere I don't want lacquer and spray a couple of coats of clear Nitro to get an idea of anywhere which may need more work/levelling. I repeat this process until I'm 100% happy before spraying the colour coats. Then I mix up some black Nitro to match the original finishes colour. Here the colour coats have been sprayed, the masking on the binding removed (the binding gets clear coated, but obviously not painted black!). This is the clear coat straight out of the gun so there's a very slight spray texture, but so minor it won't require too much wetsanding and it's reflecting a clear image (i.e me!) without too much distortion. I now need to leave this for a month before proceeding with 1000 grit and through the grades before buffing. The finished article! No trace of the repair and straight sides! Thanks for watching.