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Dear fellow Basschatters, these are crazy times: For this reason I've made my latest book available for the next few days as a FREE kindle download. Follow the link to access it. Hope this helps. Stay safe. https://www.amazon.co.uk/dp/B085PV6MGK/ref=cm_sw_r_cp_awdb_t1_km0FEbQZ1JTGM

I stumbled across this just now and thought I’d share... Not seen it before - and I’m still not sure how on earth he came up with it - but it made me smile all the way through! I know it won’t be to everybody’s taste, but well worth a look as we find bass-related things to fill the time and get us through to the other side. Keep well and (hopefully!) enjoy... https://youtu.be/q9UCBsXI4LI

Oh man, that's a beaut, it's given me Jazz Gas, which sounds like an atonal fart.

Excellent, so thanks for the gesture. To reciprocate, I've ordered it as a hardcopy (I don't have 'Kindles' and such, being old, you see...). Keep well, stay safe

How could we forget this.....

This build by @Basvarken In isolation the headstock is great but in the context of it being a Grabbird it is awesome!

you win!

TESTERS REQUIRED for a Virtual Bass Bash So far we have: @Bassman Sam, @Andyjr1515, @Len_derby, and I hope still @jebroad & @ped @Oldman - PM me with an email address A few more would be good. Currently no preferences for Friday or Saturday, so probably Friday. Rich

The SBMM short scale arrived yesterday from Bass Direct. Here's a pic with my Chowny SWB-1 (sorry, just a camera phone...): First impressions: It's a Stingray... but shorter. Sounds mostly like one. Tone pot (nearest the jack socket) does the usual. Middle knob selects between three wirings - parallel, true single-coil and series, not sure which is which - the sound gets fatter... Volume knob has a push-push switch that, when out, turns on the passive boost... which I guess means that "normal" has some kind of built in attentuation. The "boost" isn't huge, but it'll happily overdrive the input on my Elf unless I back off the gain quite a bit. Not sure which of the three settings gives the most classic Stingray sound... they're all pretty good. Build quality is superb. Flawless finish, not fret sprout or rough edges. Bass arrived in tune and with a rather nice padded gigbag. Only slight minus is the nut is a bit rough, but nothing that really needs sorting out, just looks like it was slightly chewed by a dog... Comparing with the Chowny which comes in in a similar price range - not much to say about difference in quality. I'd say they're about the same - which is testament to the quality of what @Chownybass is turning out as they're competing in an increasingly crowded short-scale market - and still are tops, the SWB-1 isn't going anywhere anytime soon! They're both 38mm at the nut and spacing at the bridge looks about the same - 18-19mm. Necks are also similar - both slim front to back - maybe the SBMM is slightly thicker. Biggest difference is my SWB-1 has a gloss finish neck, and the SBMM is satin. Personally I prefer gloss, but the satin isn't bad. (I think the 2020 SWB-1s will have satin finished necks anyway...) Sound wise, couldn't choose which I prefer - they both have their place. The Chowny does a passable imitation of a Warwick Thumb (as well as its own thing) which is why I love it to bits. The SBMM does a good Stingray. The SBMM is a fraction lighter than the Chowny, but not by much. Bass Direst looks to have the white with rosewood board in stock, but mine in Daphne Blue might be the only one around for the moment. Overall - if you want a Stingray sounds, and want short scale - this is very good.

I like the headstock on my Franz basses. Unusual but pretty cool.

The S2 is looking particularly purple today 💜

With you there. When I bough my '66 I deliberately sought a bass that had been played not left in a cupboard.

This one sadly isn’t mine - it’s from Andy Baxter’s website. But I think this late 1950s three tone sunburst, good scratchplate and maple next combination is just utterly gorgeous.

Finished, ready to collect next week............... what u think?

I know there are a few folk on here who are not in the Ric fan camp but I love mine and wanted to give it a New Wave / Power Pop early 80s vibe. Off came the white plastic to be replaced with black plastic, and I had already added the zero mod thumb rest and the bezel cover. I added the neon white strings a while ago too. It got loads of comments on Friday's gig and seems to be getting a lot of likes on Facebook and Instagram.... so here it is in its full glory.

The Mrs bought me some pictures for my music/guitar room but they wouldn’t fit so they are in the toilet off my room instead

That is pretty! Albeit a bit deadly... 🙄

I’ve owned way too many basses. And recently sold what I considered (and still consider) to be the best Fender jazz bass I’ve played. It was my job for 12 years, buying and selling basses - as well as guitars. I sold 1000’s of Fender basses, and set up/restrung more than that... In selling that bass to @Normski he mentioned he had a Metro which was lovely, but sat unused as he has way too many basses (he describes his stingray collection as a roomful’) - I had zero intention of taking a trade. This is a very recent “Metroline” - and I was in trouble the second I opened the case. Is it as “good” as the CS? Yeah, yeah it is...but it’s probably not as “special”. A change is as good as a rest, and this Sadowsky has had me playing bass again, and now after some tweaking to strings (New ones on today) and action (now a bit too low...if that’s possible) - I’m really enjoying it. Might’ve overstepped the realms of normal behaviour by buying a HPJ Metroline last night...but I’ve sold 3 expensive basses recently and it keeps me out of trouble. Anyhow...After a discussion with Drew of GBBL fame the other night, we got into a to and fro about bass players “chasing the unicorn”. Some Fenders are good, some are average, some are bad. What @bassfan wants from a Fender or Sadowsky May well be hugely different to what I want - so his version of “good” will be different to mine. There is no hard and fast rule to be applied to any basses by any manufacturer. If you fancy paying £1500 to find out if it’s for you, go for it - in fairness, if you buy used you’re limiting the losses. If it costs you a £150 loss after a few months, think of it as a rental cost. Horses/Courses...etc.

Think about it! You are not going to get any original US Sadowsky parts on a bass that costs around £700.

Thanks White Cloud, I will need to read half your book just to get over the stress of downloading & installing the Amazon AppStore app 🤬, the Kindle for Android app 😠, followed by security this & that 😭 and finally your book 😌. .....................and finally 😷 this seems appropriate.

Hmm. I guess we’re all different. I was a private teacher for many years. I had a wide range and ability level of students from young kids to retired. The point about taking on a personal tutor is that you’re going to put in the necessary effort to learn. Honestly, if you’re ambitions don’t reach to that level, don’t bother. It’ll just be a waste of your time and money. I’d like to think I did my best and adapted to each student’s personality and skill level, but regardless of ability, across all the students I had (probably close to 100 overall), the ones who improved the most (and appeared to enjoy it) were those who went and woodshedded. The only way to improve is through regular and structured practice. Theory, harmony, technical ability and basic playing are NOT dark arts - it’s all there for you to find either with a teacher or via online courses. Improving and being a good player is decent tuition and a lot of hard work - and it’s within the reach of everyone. Talent has very little to do with it. It can be as little as 15 minutes a day, but every day (or as much as possible) I find some say that courses or online tuition fail to sustain their interest. Is it the teacher or is it the pupil? Or is it our collective inability to concentrate or remain interested in something in this age of instant gratification (this is not aimed at anyone on this thread, just a general observation)? The quality of online tuition is streets ahead of anything I had when I was learning - but I had a private teacher from about 15 for 4-5 years and it remains the best teaching I’ve ever had. He could be a bit moody and didn’t say much, but he had an amazing depth of knowledge - from piano to upright to electric, and introduced me to styles, bands and knowledge that set me up for life. Rather than be annoyed at his personality or even intimidated, I made it my mission to get better. And I went from knowing nothing to being able to read charts, play a variety of styles, gain a good sense of time and feel and got gigs and studio work as a result. Nowadays the issue is that teachers like this are very hard to find in person, so it’s really online where you have to go. Put the teacher’s personality or delivery aside and look at the content - is it worth sticking with? Then stick with it

But... but... it was just a rush job for NAMM 😚

Guys, you rock! I followed your advice & went DI from the driver to the interface, and it works perfectly! Tried recording a passage with the driver on & off, shows up well in the recording. Awesome people of BC, I owe thee all pints!

I get where you're coming from as you are someone who is giving lessons, but it's a question of value for money and the guarantee of consistent high quality from widely recognized and appreciated online tutors e.g. Mark's lessons work out at around £1 a lesson and I can take them in bite sized chunks depending on how quickly I master them and what else I have going on at the time, which is perfect for me. Consequently I've found every one of his lessons better than the (few) £30 / hr in person lessons I've had from a couple of capable tutors.

Mark at Talking Bass is currently offering 30% off all his courses for one week.

I believe Nigel Godrich did, when producing ‘Chaos and Creation in the Backyard’, and hasn’t worked with McCartney since. That’s a strong album though, Godrich was clearly a positive and productive influence.

Thanks for sharing - I really like his style. Here's a general question, which I hope doesn't derail the thread too much. At the end of the clip he talks about the circle of fifths. Since the first time I had this explained to me (about 25 years ago, by a music teacher friend, who thought it would change my life), I've literally failed to see what practical purpose I'd use it for. I'm clearly missing something - can someone put me out of my misery?

Well, that's a real beauty !!!

At least..! (Although I have doubts about the 'decent' bit. )

‘Truth & Rights’ - great riddim 😊 Here’s a mess around me and my reggae friends did on the Minstrels riddim back in 2010 not the best but our good mate had fun with his camera, plus the venue is the drummers own practice place we’ve used since 2007 - every jam feels like a gig 😂

My 2013 MIJ Mustang is the one I pick up to noodle. It’s featherweight, sounds really loud unplugged and means I can wonder around the house without smacking into doorways. Its my only short scale bass but I find it very playable and comfortable. I never liked the dark tort guard so swapped it for a white one and I’m happy now (important consideration when playing at home as i constantly keep glimpsing myself in mirrors and windows!)

Just before you head for bed............. 😊

Compact and shiny compact and very shiny Compact and matt finish Compact and Old Smoothie!

Simple, but effective 😎

Indeed! I much prefer the look of a ‘paddle’ headstock and dislike small pointy ones. I know it’s a bit lame to show your own here but it wasn’t until I noticed how the ‘V’ logo fits with the shape of the headstock (particularly the top) that I realised how nicely it’s designed. The ‘scoop’ also mirrors the shape of the horns of the body. Clever and nice looking imo.

For me, this one has a nice vibe🙂

One of my hundreds of happy songs and posted here because I was listening to the album earlier tonight.

Shiny and compact and 3+1

Agree. For some reason though I only like this format on Stingrays, on other basses it just looks wrong to me.

I don't own one any more but always thought Stingrays look great with the 3+1. Nice proportions.

Look, I know these threads are a show-offy, vanity thing, but honestly, if I had to call on one bass that would be the go to, do it all instrument, it's the Lull. It's a forking monster, even more so since I installed the John East.

My Bravewood 62 p bass

New music room🤩

Oooh, now thats a lovely idea. Might have to look into that