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Are you guys actually bass players? Call Me The Breeze and every thing else by JJ Cale, has great, simple and effective bass lines that push the song along perfectly. Never Met A Girl Like You, anything by U2, Status Quo or ZZ Top and many others. . . all simple bass lines that are nothing by themselves but are exactly right in their place. If the bass line is good for the song then it's a good bass line.

I'm sure it'll buff out

Being as I'm a long-time office spod in a yard full of tradies I'm already well acquainted with the dangers of publicly sticking your creative head above the parapet. It's all suddenly got a bit busy on the musical front recently though, so it's nice to be able to finally meet the sneers of "when's yer band playing Wembley then mate?" with "July, actually. Twice." More of a personal victory than a definitive one as they're generally the sort of blokes who like to get the maximum amount of use out of a joke once they've invested time into coming up with it, but it does keep the more irritating banter down to a minimum!

I think if you play rock or pop you usually have to accept that some bass parts will be pretty easy. Personally as long as I have a moment or two in any set or in any album where I can stretch out a little, I don't mind having a few songs that are relatively simple or repetitive. I guess if I didn't like that I would be playing another instrument or genre.

Not being a fan of their design choices, I clicked the link expecting to see something hideous. I wasn’t disappointed.

Will probably look a bit like this:

I’m still in! I even spent time yesterday deliberately not looking at bass porn and speaker cab goodness and decided to try practice instead. It worked too.

Fresh. Well played sir. 😂

TBH the Bona Bass looks OK sideways but not great standing up. Still, don't understand the negativity here, variety is the spice of life and all... just don't buy one?! Sometimes I find basses that look nice are horrible in the hand' or vice versa. The most offensive though is another P bass, ffs... but I guess session pros will need one

I generally don't mind - and am happy to play - simple lines. It only bothers me when they detract from the song. U2 for example: people slag Clayton's lines, but they work fine. It's march-y anthemic stuff.

Drive pedals automatically add compression, just depends if it is enough. I play mostly clean-ish these days in a big / swing band. I'm swapping from fingerstyle to plectrum to slap depending on the tune and those have very different dynamics so I always use a compressor just to tame the extra volume on the slapping. When I mix a clean and dirty signal compression is pretty much vital on the clean side - the dirty is already compressed and sustains for longer = so compressing the clean means that the sustain levels can be matched. Otherwise the clean fades long before the drive does. If you like all the dynamics affecting the drive levels then put it at the end of the chain. If you also like it affecting the input stage of your amp, then put it in the FX loop so you are only taming the peaks into the poweramp and not how the preamp reacts. It's all good. Whatever works There are loads of people who don't use them though - although a significant amount of them are still getting compressed - usually by the FOH engineer on the desk.

There's a bassline from yesteryear that irritates the hell out of me. It's like fingernails down a blackboard. Sets my teeth on edge. But it's nothing to do with dullness or repetitiveness... it's that it's so horrendously out of tune. I refer to this offering from the Godfather:

Re. the BBNE2, please bear in mind the following: 1) it's too blingy for some (e.g. @bartelby) 2) there's already a wanted ad for a white one (and I had to wait six months before one in white came up) so I could have moved mine on, literally yesterday (to you) and the day before (to him); I've had seller's regret with parting with a Yammy before: once bitten twice shy! 3) I have to agree with you that there aren't too many 5'ers that this little beaut isn't going to hold its own against - it has a low end punch to rival Monsieur M Ali and versatile mids to rival a supermodel

Well, there's this chap in AliExpress who...

The voice of reason says: God, they look horrific. Message ends.

I bought a Super Midget from andyneeds (great guy). I'm using it with one of my SC's. I've already got the thumbs up from last week-end's gig. My Two10' cabs might be at risk!!

People who disparage plodding bass lines should be sentenced to ten years of root / 5 in a Country band fronted by a malodorous, moustachioed pervert who hails from Shepherds' Bush but peppers his everyday conversation with 'Y'all this' and Y'all that'.

I’m going to hold off actually, got to wait for a couple of refunds and I’m running out of space at the minute (and patient wife tickets)

Hi Alejandro, Apologies for the delay in getting this to you, its chaos currently getting everything finished for the upcoming NAMM show. https://www.dropbox.com/sh/thos797pu87v7vm/AABNBeh4yMEVdjnfYU9fAsYVa/User Manuals %26 Data Sheets?dl=0&preview=Ashdown+Acoustic+Manual+EGF.pdf&subfolder_nav_tracking=1 You should find the manual for the pedal here, its within the Acoustic Cubes manual so you will have to skip the irrelevant bits. Any other questions just shout. Hope that helps.

I can imagine some of you on here short-circuiting at the thought of this one...

You may wish to check out the isolated bass on Youtube. There's more going on than you'd think.

OK - the experiment worked. Basically, I took two more slices off the offcut, cut away the tight grained bit and then book-matched. There was less than 1/2mm excess to fit the shape of the cover onto! But this looks more like it's meant to be there: Again, even when adding finishing just one side, no warping at all - but Hawaii is a long way if there are problems the other end so I will be adding a backing plate with grain at 90 degrees to eliminate the possibility of there being an issue. So final set-up and tweaking ongoing before it gets shipped Andy

Great band. Got the 2 albums The Firm and Mean Business. Frankiln is top notch

I like The Cardigans - First Band On The Moon and Grand Tuerneo are both good albums. I also like the ethos behind the band which was essentially four metal musicians decide to write pop songs and recruit an art school student who's not sung before to front it. Sounds daft, but somehow works

Quite simply the best rock fretless man around. Check the album blue murder

Custom build for client. DANG!

May I nominate the hardy covers band perennial, "Sit down" 😂😎 Regarding the Cardigans - who cares about the bass line? I'm looking at Nina Persson 😘

And I also love the fact that the mods made have improved the look and sound of the bass (and should only enhance its value). That, believe me, is not always the case: https://thebassgallery.com/collections/bass/products/yamaha-bb3000-1 I just can't get over the pup mod on this one...it just doesn't seem right! 😯

The look of those basses match the look of their amps & cabs perfectly! 🤢🤮🤮🤮

Surely something new and shiny will help you through the disappointment?

Thanks to everyone who has replied. I find a guy and got the problem fixed, the issue was last few frets a poped out a little, hard to see in eyes but now the bass plays fine. Still whizzed at the musicman's QC and shitty dealer though. Best, Otis

I suspect the reason is that a few old stock amps that may have been ordered before the end of production may still be in warehouses, I seriously doubt that it more than a VERY small number. For overseas orders, there can be a significant time lag between the time a product is ordered (we typically build to order), the time all of the items on a shipment are ready to ship, the time for shipping, clearing customs, any additional in country safety testing and certifications, delivery to the distributor, then to the dealers can take 6 months or more depending on the country and how many different products are on the shipment. They have not been available from the factory in over a year. Hope this helps with the confusion.

Ok, so I had my custom bass made and although I still don't actually have it - I already have the pictures, so sharing time! The wooden parts are Japanese but everything was hand finished in Poland. It features: - 3 piece alder body - maple neck with black blocks and binding - nitrocellulose finish - Gotoh tuners, vintage style bridge - DiMarzio pickups - CTS Pots It was relic'ed slightly as you can see but this bass is brand new.

A colony of Doozers?

I did it when I installed new pickups and a new wiring harness. I was sure it had the control cavity/neck pick up rout, but some of the other answers have got me doubting my memory. I reckon you're just going to have to bite the bullet and spend the 10 minutes or so it will take to take off the plate, have a peek, then decide if you want to take it further. Fnarr fnarr.

My guess - Lord Lucan & Shergar. You know I'm right!

I just couldn`t deal with that, OCD Rules & Regs, chapter 5, paragraph 12 state mahoosive overhang on amps/cabs shall not be permitted.

Being in a covers band, most of the music we play is rarely my cup of tea. But the upside is that playing it gets us much more gigs, bigger audiences and money. The buzz comes from pleasing the audience and enjoying the atmosphere. It's a lot of fun! I'd love to also get the buzz from playing my taste in music but the two rarely cross over. Cover bands are a different world which needs a different approach. I'd say learn the songs, give it your all and see where it goes. You might enjoy it in a way you didn't expect. Like others have said, don't go for a jam, that'll not go down well. Good luck!

If it is already on the floor, it can't be knocked over! I have been guilty of that. The overhang is ridiculous. It looks a bit like what my waistband would look like if I started wearing skinny jeans,

Stylon Pilson -agree with your points. We'd be good shopping together! LOL

No matter - we both think it's a good 'un. Not particularly a bass players album, but great songs. IMO of course

Last night we did a Sunday evening (19:30 - 21:30) gig at a pub in Crawley. It was pretty quiet - to the point of almost being a paid rehearsal, but as it was paid and an early finish, there's not too much to complain about. Second time out with IEM and they worked really well, made the singer happy too as it's one fewer wedge to bring into the venue. Also, GAS is stupid, I'd spent most of the week convincing myself I wanted a five string Precision but when I plugged in my DJ5 (even though it has strings like a Norweigan Blue) and tweaked the pre-amp/DI a bit, the tone I wanted was right there. Isn't it funny how GAS strikes when my mind is wandering at work rather than when I'm actually playing......🤪

I don’t think it looks odd or ridiculous to see anyone on stage wearing over ear headphones, certainly if it’s the difference between you continuing to play or not. I’d wear ‘em like a shot at the drop of a hat!

I'm no fan of Led Zep but in their defence, the Blues is such a basic, formulaic and predictable genre of music, due to the very limited number chord progressions, inevitably all songs are gonna sound more than similar to many others anyway. There are just so many times you can wake up in the morning feeling a bit p1$$ed!

It doesn't look wonky enough to be Letraset, so I'm guessing this would have been done on typesetting machine. This was a rudimentary computer that controlled a photographic imaging process to produce the type. Changing the typeface (including getting bold and italic variants) normally meant fitting a different photographic negative with the required character shapes, and everything else was done by inserting various codes into the text that controlled the type size, line length and alignment. Since you couldn't be 100% certain what you were going to get until the program had run and the results had been developed in the dark room, a lot of the time it was simplest to run everything at a single size ranged left and then cut up the results and use a process camera to resize them to fit. The finished design would be assembled on a piece of board, cutting and pasting the various elements into position. If you wanted colour you would specify it on a tracing paper overlay, and the repo-house would work their magic to turn black and white artwork into a full colour print. The process was long-winded and time consuming and often the client would have revised the text before you'd even got the first version out of the developer, let alone stuck down onto the artwork board!

Was this problem there from day one? Assuming it was but keeping in mind that it can be difficult to diagnose without actually seeing the instrument, up close. If you definitely have the relief and string height/action otherwise correct, then I would suspect that the frets from around the 14th onwards, require levelling with a slight fall away. A job I have had to do on a fair few customer's instruments. Fairly straightforward with the correct tools and a careful approach, if you have neither, then take it to a guitar tech/luthier.