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I haven't been here since my gig on Friday night so this is a belated nast night's gig posting. My band played on the main stage at Birmingham Symphony Hall for a Jazz night. It was a last minute upgrade from the usual location of the Jazz club there which was one of the conference rooms. No complaints there. We did a Grover Washington Jr set which went down great.

Well the story starts from my Sei. Some might know that I sold it. To Carlsim on BC who is a total gent and a very cool guy. Said bass was posted too Carl. Carl then got in contact with me. I posted in my advert that the preamp was a a UNI Pre. I meant to say it was a U Retro Deluxe but I advertised it wrong. My fault of course. Well after a few PMs back and forth Carl worked out that it wasn't either. It was actually a J Retro Deluxe. BUT the bell plate when it was fitted was not installed, so I presumed it was a U Retro Deluxe. Confusion much so. Anyway it was a pain in the derrière for Carl because he had paid for a bass that wasn't what he expected. So I sent him some money to get the Preamp that he wanted which he wanted being the UNI pre.lets hope it fits we/he said.But all was cool. John East sent him a Uni pre and bless Carl. He un installed the J Retro and then fitted the Uni pre which he is happy with. Carl after a few PMs sent the preamp direct to John I spoke to John East about this situation through numerous emails and on the phone throughout this situation which he always answered. I then spoke to John about getting a new Jazz bell plate for said J Retro. He said on the phone that he had a plate no probs. Now this is where John East is not just one of the greatest designers of possibly one of the best preamps for a bass on the market, but one of the most easy to get hold of nicest guys and one on one its like talking to your next door neighbour . I spoke to him and he said to send him the preamp, he would give me a free plate from his stock that has a slight blemish, he would then rewire the preamp and fit new knobs.! FOR FREE.!! all I have to do is cover the postage.. I don't really need to add much to this. I dont want want to endorse asking John to give away free stuff, but what a guy and what a gesture. For me first off this is what BC is about . Honesty, communication, and wanting other bass players to be happy with what you have sold them. But really its a big up to John East. What a gentleman..

I was just typing a post in the recent ramp thread as I've now made my ramp which I mentioned in said thread, and I thought I'd do a very small build thread instead as it was a bit overkill for a reply to the ramp thread. My Rickenbacker 4005 copy has a massive gap under the strings due to it's design, the toaster pickups on Rickenbackers are mounted straight on the surface with no routing meaning the strings have to sit really high compared to a conventionally designed bass. This feels very odd when going for the occasional pop or when playing octaves with thumb and forefinger. Also the pickups are so far apart that neither one is really suitable as a thumbrest for my normal playing style, and the huge string to body gap make it weird to play resting my thumb on the body. So I've made a clear Plexiglass ramp to act as a full length thumbrest and to make the string to body clearance more like every other bass I've played, so it isn't a ramp as such. I just bought a rectangle of Plexiglass cut to my measurements on ebay for £6.50 and cut the strange shape in to the top right corner. This is for a weird quirk of mine where I always seem to rest my thumb on a pickup but hook my little finger down the side of it, I don't know why but I feel comfortable that way so I cut this chamfered bit to accommodate my pinky. The edges and corners were rounded of and then all polished up and it really is crystal clear. I'm hoping that under stage lights it will virtually disappear rather than trying to make a wood one that will never match the colour and grain of the top. The lower edge butts against the scratchplate to hide the edge and the top edge looks darker in these photos because of light refraction, or lack of light. I've fixed it with two screws under the strings which I don't think are out of place with the scratchplate and tug bar screws. I was going to use clear doubled sided tape but it looked odd and would collect dirt, this way I can remove to clean any dust that may get underneath. So there you go, a clear ramp/thumbrest/faux top thingymajiggy. 🙂

😆

So the body turned up. Now I have a neck to refinish, and a body in need of minor adjustment to take the neck, and a bridge. I really like this minty colour, so I’ll call the bashed bit “road wear” and crack the on! Being that I love gold anodised pick guards, and the new Vintera stuff with this combo, I shall see about getting one made up once I’ve decided on pickups. Originally I was going for MM in roughly P position, but I’m liking what bridge pups can bring to the party, so I think I’ll follow the routing positions in place. Now I am quite a visual chap (shallow), so I don’t want standard pickups. I’m thinking two the same with chrome covers like Mike Lull’s NRT4 would look ace here.

I quit playing a long time ago, and had a break of almost 25 years However, I'm back now, and loving it - despite all the usual set backs My biggest regret ever, was giving up all those years ago! I really feel like I wish I'd persisted back then, and often wonder just how much better I'd be now Yes, we all have huge set-backs, rows, bands splitting, dealing with difficult punters and landlords, problems with health (self and others) but my advice would be stick with it - you may end up really regretting it if you give up.... just like I did have a short break if you feel you need it. Re-assess your situation, play with some different musicians - go to a couple of jam sessions, and just do it for fun But, Don't quit, don't quit and don't quit, and finally, whatever you do - Don't quit! Best of luck finding your solution

Just for you and all the other Moon Froglets reading, here is some String Pudding:

A few reasons - I prefer the more compact body - The II's are significantly lighter and better balanced than the VM4 was - The neck feels more comfortable on the II's and the finish seems superior to that on the VM4, more of a satin feel rather than a gloss.

Clotted Cream?

Erm the primer coat is on...

Very nice work! I've done a couple of these, for basses where the pickup positioning didn't give me anywhere natural-feeling to prop my thumb. I love working with acrylic, very easy to cut & shape, and really satisfying to get a nice finish. Cort B2 Headless: Kawai Sleekline:

It’s rainy up here in Yorkshire... but I’ve got a side on (hopefully enough glue it drank it up) and t-nut overkill!

"I parked the van round the back of the pizza place, tonight." Insightful, I'm sure you'll agree.

Can I just point out something in this story that you mentioned, as part of the story background, but you didn't really focus on. This came about because you made an honest mistake, and when confronted by it, you behaved honourably and did what you believed was the right thing to do. You didn't make a fuss, you showed respect, and helped the other person out. Often times this might not have happened, but for me, it was your actions here that initiated a very positive experience. I'm a firm believer in the whole "karma" principal - you do something good, eventually you get that good energy back. In your case, it just happened a little quicker and more directly than normal. Not trying to take credit from John East here, but you deserve some props here as well.

A bit more digging around in recent months brought another pedal with an arpeggiator function to my attention - the Adrenalinn III. It's an unusual box of tricks jam packed...possibly over flowing with features including an 8 bar drum machine with 8 sets of classic Linn drum samples, full sounding amp model sims from some interesting amps including Bogner, Peavey 5150 and a Boogie Mk2, plus various modulation and delay related effects. It's a great sounding pedal - everything sounds very warm and analoguey. Some of the amp sims are a little raw sounding but nothing unpleasant or unusable by any means. There are 199 presets available so plenty of storage space and MIDI channels. The primary purpose of the unit is to do beat related effects so if a player wants delays chopped up in time to the music or cycles synced to tempo then this box will do it. It can do that effect at the start of Green Day's Broken Boulevard and John Mayer used Adrenalinns I, II and III for three of his hits: https://www.premierguitar.com/articles/Rig_Rundown_John_Mayer So this week I looked into how to set the unit up so that I could do I Feel Love to start with. The sounds in the presets sounded great - there was a definition to the notes that I learned from the user manual, was due to each step having it's own individually definable envelope filter (something I really wished was in the Cooper FX Moment Machine). The user manual also mentioned all sorts of things about programming for drums but I couldn't find how to programme the pitches for each step in a user defined sequence. So I fired off an email to Linn asking for help and Roger Linn himself replied within 24 hours. He said that the arpeggiator was very simple - a flanger where the resonance frequency was controlled by each step. Which in other words meant to me that it wasn't an arpeggiator, it's a sequenced filter. This kind of explained why I was getting clarity on some notes and not others. I have to admit that I was disappointed it wasn't accurately described in the user manual. The pedal sounds so good in all the other ways that I hadn't planned to use it in, it's a little swiss army knife of a thing. So at this point, we are back to the Moment Machine and the journey continues. The FI doesn't have an arp. The Moment Machine doesn't have an envelope filter for each step. The Adrenalinn III doesn't actually have an arp, it's a sequencer based filter. Seems to me like there is a large gap in the market for players who want to emulate arpeggiated synth bass but don't want the hassle of spending days hunched over a small screen scrolling through endless menus and mapping various bits of kit to one another. Right now the Moment Machine, for its lack of an envelope filter, is as good as it gets without the prospect of a company like Panda MIDI including an arpeggiator in a version of the Future Impact.

Silly suggestion, whereas a solar panel incorporated into the bass headstock, placed seperately on the stage or on even top of the amp would solve this issue completely. This would harvest light from amp 'on' switches, audience camera phones, stage lighting displays and the audience holding up lighters ( do they still do that?). Surprised no-one has thought of this before....

Do you mean a stereo jack like on most of all other active basses ?

Continuing my quest to further stress test the floorboards of my mancave, I got this today. It's lived in a full flight case for most of it's close on thirty years and as a result has fared far better than many of the others I've looked at (the 'rubberised' cases tend to have chunks missing out of them looking like they've been nibbled around the edges). Some of the grey/silver paint has worn where it's been slid in and out of the flight case and there's a very slight nick out of one of the corners but other than that it's in fine fettle. The front and back panels are immaculate with all switches, knobs, lights and sliders present and correct and working. It really is in superb nick and sounds great. No scratchy pots, all switches and sliders operate smoothly and with a quality feel to them. No unwelcome buzzing or hissing and the always on fan just spins away quietly in the background. My MkIV is the quietest running amp I've ever heard and this is just the same. So I've got the MkIV, the Series 6 and an SMX (and an Elf). Just on the lookout for a pristine MkV AH250 now and then I think I'd better call it a day. 😁

Beautiful! https://www.peachguitars.com/guitars/bass-guitars/4-string/music-man-bfr-stringray-sierra-fretless.htm No further comments!

Yes, me too but in a very good way indeed.

Randomly, listening to this right now

I know , it's unbelievable isn't it . We have to pay insurance in case they can't do their job . Pick up only for my stuff - unless its pedals and the like . If they want it enough , they'll put themselves out - sad really that it's come to this

As long as he keeps putting monstrosities on eBay then it's fair to comment on them IMO, same as that mad German seller who doesn't seem to get any defenders on here unlike MDP. Maybe it's because he's faceless and MDP puts himself out there but for me as long as the criticism is of his bizarre workmanship and doesn't get personal it's fair. As for ripping people off - there is a definite car salesman vibe to his listings, extolling the virtues of questionable decisions using pseudo-technical terminology that will only fool novice players who don't know what they're buying so for me there's a slight predatory element and it should be called out. Same with making a cheapo J bass pickup out to be some bespoke unit and implying that the Vintage brand is made in the UK by a fella called John Hornby Skewes, he knows what he's doing there IMO. Check out the listing with the bitsa P bass which has a video attached, no way is that fit for gigging yet apparently it's had a "full overhaul of the electronics" and will "keep pace at any level you might use it". He then sticks a £233 price tag on it and calls it a Squier in the listing, probably because it looks like one he saw once.

I'm a panelbeater so it's always whatever we're using at work. At the moment we're using Farecla G360 super fast compound followed by Farecla G360 super fast finish using a mini polisher. I was surprised how easily it polished up. I filed the cutout out then sanded it with P180, 320, 500, then 800 wet n dry, 1000w&d, 1500w&d and finally 3000w&d, then the polishes. Seems a bit laboured but it only took thirty seconds or so of each grade.

My man Mr Shrubshaw of Savile Row has strict instructions to tailor my shorts on the rumi side. Any tighter and a pandemic of envious resentment obtains among the male populace. Anyway, that bass is brown. No more, no less.

He's not mugging anyone, I remember the previous thread people saying "he's ripping off the kids". Seriously? I'm not suggesting he's a world leading luthier by any means, but we've been here so many times, I'm just suggesting that folks move on and find something more interesting to discuss, Coleen Rooney and Rebecca Varney for instance

That’s good to hear. Especially as I just bought this exact setup!!

Depends if you go valve or solid-state. Valve amps require a load; I *think* I'm right in saying that solid-states do not.

They are like that, irresistible, especially live.

Tobacco burst, as already stated. Or put another way: It's f*****g brown.

Ouch. If you, with your experience and contacts, can still feel like that what point is there in amateurs like me practising? Another way of looking at it is; if you, with your experience and contacts, can feel like that, I'm not the only one... My sympathy. I have periods when I feel the same way. One of them lasted for thirty years.

The Soup Dragon had every reason to be sweary... When the rest of the froglet race discovered string pudding they ate so much of it that Michael Bentine had to invent Potty Time otherwise the Moon would become a swamp consisting mainly of partly digested soup and stringy froglet droppings. Without potty time for the froglets the whole Moon would be a fetching shade of brown by now. How's that for a re-railment?

Not quite, one of Phil Lesh's has a few more!

Ok yeah, so i'm replacing my B3n.. with a B3n! Oh well, at least the resale price seems about what i sold mine for so i'm not losing anything!

This might be the key here. Plugging straight into the desk is much more forgiving to active basses than it is to passive basses! An active bass produces a higher-impedance signal (so less vulnerable to effects like cable capacitance, interference, etc), and the onboard preamp may "warm up" the tone a little more. You'd probably hear more of a difference if you tried the DI with a passive bass. After that, it's down to personal preference. If you're happy with the sound of the bass into the desk as it is, then carry on! Again, this probably comes down to the onboard preamp - I personally find actives sound alright played DI, whereas passive basses can sound a bit "sterile" without a bit of preamp coloration..but then some people prefer it like that.

They'd go invisible if left on the coffee table. Horrible - just horrible

I will second this - Andy was a diamond throughout and did everything he could to rectify the situation.

Beatle Juice.

I routed the hole for the handle on my MK2 cab and regretted it. It just does not look right. Yes I routed the recess slightly too wide but as mentioned, the round over on the handle looks better when the handle is mounted on top in my opinion.

I tried taking a double bass by tube just once, to an open-air festival gig with no parking anywhere near. My DB gigbag has wheels and is therefore towable, but the bass really didn't enjoy being towed along uneven pavements and up & down curbs. My journey was very simple, eight stops on a single line with no changes, but neither station has lifts so the DB had to be carried up/downstairs at both ends. All I can say is, I'm bloody glad that @Silvia Bluejay was there to help! For any public transport gig, leave the DB at home and take a Precision ...

True bass-a-holic. Puts his sound before his personal safety...

Had the opportunity to do a little more work on one of these today. First up was drilling the holes for the neck bolts. This was followed by routing the pockets for the neck and for the bridge using the template I posted previously: Next up was round the edges of the bass. I fill in the pockets whilst rounding the edges to reduce any chances of splits or bits going missing!! So this is how it looks next to the headless version. I'm quite liking the way the grain is flowing on this. Should be nice when finished.

How about a dummy jack made of plastic, so folks could keep their Stingrays connected without draining the battery? The dummy cable could be made from cooked spaghetti, which would break if somebody caught their foot in it. 👍

LBGS 2019 blog is up! https://wp.me/p2ZbyY-I6

I think the “why” boat has sailed. 🤪