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Thanks for the kind comments, folks. I still hate routers, but, as I've said before, there are times when only a router will do! And here we go again! The pickup chambers. I use the same method - which is basically mark out, hog out, chisel out and then use a captive bearing router bit to tidy it up and reach the final depth. With pickup chambers, the first thing I do is check the radius of the corners and use a bradpoint 1mm larger (to allow for the 0.5mm clearance all round) and drill the corners: Then I hog out as close to the marked line as I can with as large a Forstner as I can: Then chisel 10mm or so down, right up to the outline: Then use a flush bearing router bit, that will be fully captive to deepen the chamber to final depth: Finally, I chisel out the room for the pickup bottom connector block that will join up with the connector cable slots I created before gluing the back on. Those original slots weren't in quite the right places but they are only there to get the cables through so will still work fine: And once the connector blocks now have their chambers, the pickups will freely drop - if needs be - to the lowest practical position: And, with that done, I can start thinking about gluing on the fretboard.

I am posting this PDF here for anyone's reference/entertainment, my entire Messenger conversation with Mr Mason regarding Sans-gate. A few things to note: When I mentioned that he had reposted the ad is where I began to get suspicious. Some of you will note the same tracking proof screenshot that you may have received and the same obvious lies and excuses. Some of you may also think I was too polite. When, I began to be suspicious of his intentions and discovered this thread through the FB conversation; I opted for a polite, ignorant, persistent and non-confrontational approach. I hoped this would make it more likely to get my money back. Seems to have worked eventually. You may also notice I called him Mike twice, and Mark at another point. Maybe that's why he kept my money 🤣 You may also enjoy the moment when he agrees it is "unacceptable". Finally you surely will enjoy my genuinely accidental and ironic typo at the end of my penultimate message. ENJOY Mick Mason Chat.pdf

Truth is, it's a gamble whatever you buy. Some basses are great, some aren't.

Strangely right now the link to the Fender website page is down, but Andertons sent an email out with the "New for 2021" models that had a boxer bass tucked in the corner. Clicking through to the Anderton's website and yes, lots of nice new Fenders, but again, no Jazz Bass Special! Online, it looks like the basses will be FSR, thus being made in Japan, like the original 80's models. Only one colour at the moment, but boy there's no doubt these will be nice - hopefully as good as the originals (of which I have two of the 80's active versions). Here's the only outlet I can find with decent images: https://www.themusiczoo.com/products/fender-mij-boxer-series-precision-bass-limited-edition-sherwood-green-metallic

Once again Fender have really ripped up the rulebook with these models!

*munches Sovereignty-sprinkled popcorn*

Was reading Tim Burgess' article about this in the Independent, along with this comment:

Ironically, when I shared the petition on Facebook about half the people who signed or commented on it had openly voted Leave. This included the most vociferous supporters of the petition / critics of the Government’s handling of the issue. Of course, they all knew what they were voting for…

Feel free to start your own thread about any of the benefits that Brexit has brought to the bass-playing community.

Sometimes you play a bass that defies all logic and just feels and sounds right, be it vintage or new. There’s no shortcut to the top - just get one you like the look of, used, and try it, then get another and compare, keep going and many years later when you’re living in a shipping container you’ll reach the final level. Then someone suggests flats and you start all over again. It’s fun, honest! Side note - don’t limit yourself to Fender although definitely try some of those too!

Just...

If the WAL is something you've given a lot of serious thought to and what you want and dreamed of for a long time then just go for it. All assuming you can afford it of course. You're only alive once so make the best of what you can. Dave

This sort of thing makes me laugh - one company tells you how long a build is and what the cost will be, and someone will always pipe up about how a completely different company with a completely different business model will make a completely different product quicker and cheaper so there's no excuse for the cost or the build time

OK, after a bit of digging, this seems to be the position as compiled by the Incorporated Society of Musicans (who they?): * There is currently no supranational EU scheme covering UK musicians. It's now all at the national level. * UK musicians will be permitted to perform in 30 EEA countries (EU27 plus Iceland, Norway, Liechtenstein), and Switzerland, subject to each nation's specific requirements and laws. Some countries offer a fixed number of visa / permit free days (e.g. France). Others require a short term work permit (e.g. Netherlands). Some countries place more onerous conditions than others but these tend to be the smaller countries * The total number of 'free' days varies from 14 days over 12 months (e.g., Norway, Latvia) up to 90 days over 12 months (e.g., France, Germany) * Most countries seem to be agnostic about a musician's status whereas a few stipulate that the artist must be 'well renowned' and invited by a 'renowned' institution' (e.g. Italy). Iceland stipulates that musicians are welcome but there are different rules if you're performing in catering establishments (!) * Due to the historic Common Travel Area, Ireland is completely open to UK musos. Conclusion UK musicians are not barred from Europe. For the next 12-18 months bands will have to piece their tours together at a national level. Some countries will be more difficult to get into than others. Future Visas (as opposed to work permits) will only be an issue in the short term. In 2022 the EU will introduce a new, supervening programme known as ETIAS. This will become the over-arching visa / entry scheme for the EU countries and replaces the national 'Schengen' visas. Citizens of 62 countries which previously enjoyed visa-free travel (e.g. USA, Australia, UK) will from next year be required to apply for an ETIAS before they will be permitted to enter the EU. The UK is already an approved member of the ETIAS programme. As citizens of a 'third country' UK travellers (whether for business or pleasure) must apply for an ETIAS. The proposed cost of an ETIAS is €7 versus the current €60 Schengen visa. An ETIAS will be more flexible than the current Schengen visa. A Schengen visa is valid for a period of up to 90 days in any given 180 day period of time. An approved ETIAS, on the other hand, will be valid for three years or the date of passport expiry (whichever comes first), and can be used for stays of up to 90 days in a 180 day period. National work permit requirements may still apply.

This looks like something that just escaped from Aliexpress 🙂

It's quite difficult to not criticise a situation where everyone is worse off because of a political decision.

I suspect that was inevitable, what with the OP being about how the Government turned down visa-free touring for musicians during their Brexit negotiations!

I know I bang on about them but a Fender Japan Precision, especially one of the models with a US in the model name are exceptional. A PB75US is a terrific instrument and cheaper than a US. Quality is consistently high.

Yes - there is a potential issue depending on at which stage Wal fitted the inserts - before or after adding the neck angle shim they glue to the heel. But actually, if they didn't fit the shim first and then drill with absolutely vertical drills (vertical to the body top and neck heel but, therefore, at an angle to the fretboard), they would have the same problem as well. So as long as my holes are 90 degrees to the body top, then they will align to the inserts. If I get time, for them's that have no idea what we're talking about, I'll draw a diagram Anyway - the next scary bit is done. The neck pocket. As all of the chambering, both on this build (for the scratchplate componentry and pickup) and the pickup chambers on @Jus Lukin 's headless, will be using this same method, I'll go into it in a bit more detail. Over the years, I personally have found this absolutely the most accurate and safest way of cutting chambers. Most of my fellow builders use templates and to great effect - but to me, templates usually spell problems. If I was doing repeat builds, then templates would clearly be the way to go, but for 'one-off chambers' - which most of mine are, this is the way I do it: Having marked out the line accurately, I use a forstner bit in my little drill press to hog out around 2/3rds of the depth, with the forstner just short of the chamber outline: I then sharpen my chisels because I need to chisel some seriously accurate edges!: So here, I'm chiselling away the forstner wave residue and then taking the cut, ensuring it is vertical and as accurately as possible, along the inside edge of my outline to a minimum of 10mm depth: I double check with the neck that the fit is spot-on. I also check that the bolts (which are, of course, now too long) still fit in the inserts! If it is and they do, I have an accurate 10mm vertical band that will guide the router bearing to tidy up the chamber sides and deepen it as necessary. I am using a router table here but a hand router (preferably with a decently large base for stability) would work just as well. The bottom-bearing'd router bit simply cannot now dig in anywhere it shouldn't: So the bit tidies up the sides and makes them exactly the same as my chiselled band and I increase the depth a couple of mm at a time to the final depth: Then final checks - first that the neck fits snugly and fully bottoms in the chamber: And a final check that it still all lines up: Which - to everyone's surprise and especially my own - it does So I won't go through the blow by blow, but this is how I will also rout the chambers for the truss rod access, the pickup and the electronic circuitry under the pickguard...and @Jus Lukin 's pickup chambers that will be next

I waited nearly two years for both of mine (2015 and 2017 builds). The wait was forgotten the second they arrived 🙂 As some others have mentioned it really is a small operation. Last time I visited I understand the turn out was a couple of instruments a month. Im lucky enough to have owned some wonderful basses over the years, and I know it all comes down to personal preference in the end, but I’ve not owned a better bass than the Wals Paul built for me. Its also worth mentioning what a stand up guy Paul is... A real passion for the marque and just a generally nice bloke... Always gives me a lift back to the station whenever I’ve had cause to drop off / pick anything up 🙂 No one needs an £8k bass, but if you’re in the market for a high end new build I highly doubt you would every regret placing that order 🙂

Is it just me or does that anniversary bass with the silver sparkle body and headstock look totally out of place with the pale, plain maple board?

That could be the understatement of the thread…! This was never going to stop established ‘bigger’ bands from touring. For bands selling out theatre level venues, it is just another touring expense. Of course, they need to keep this additional expense down, so they are much more likely to use EU based crews rather than British guys. There are already UK based production companies who will only employ British techs if they have dual passports. The real problem is for musos who rely on smaller scale live work in the EU to make a living; be it on cruise ships, sessions, holiday seasons, a band tour or promo work, or often freelancers playing multiple tours / odd dates with a number of acts throughout the year. Multiple work permits, carnets, different visa requirements, VAT issues for merch, etc all add cost to make it almost impossible for to work in the EU.

You need to be introduced to the Fiat Multipla

This thread is a really useful discussion of a specific subject that is critically important for our ‘business’. Please, let’s not get it locked by the mods because of it descending into another bun-fight.

I've agonised over posting this as I'm mostly sick of the subject but...I think it's only fair that you do. If it's ok for us to go on about the problems caused by Brexit then you should be allowed to tell us what the benefits are. I'm not trying to get an argument going, I'd genuinely like to know.

From HMRC Entry requirements If you’re travelling to the EU, Switzerland, Norway, Iceland or Liechtenstein for less than 90 days in a 180-day period, you may be able to do some things without getting a visa or work permit, for example going to a business meeting. You may need a visa, work permit or other documentation if you’re planning to stay for longer than 90 days in a 180-day period, or if you’ll be doing any of the following: transferring from the UK branch of a company to a branch in a different country (‘intra-corporate transfer’), even for a short period of time carrying out contracts to provide a service to a client in another country in which your employer has no presence providing services in another country as a self-employed person For France (gateway to Europe for many) to stay longer, to work or study, for business travel or for other reasons, you will need to meet the French government’s entry requirements. Check with the French Embassy what type of visa and/or work permit you may need From French Embassy UK citizens going to France to work for up to 90 days will not require a visa. They will need to obtain a temporary work permit unless travelling for a sporting, cultural or scientific event, a seminar or trade show, the production and broadcast of cinematographic and audiovisual works, modelling, IT/ asset management/ insurance/ finance/ design/ engineering audit or expertise missions.

Indeed - and each border you go through with the carnets could involve you proving you're not carrying any 'additional' undisclosed goods (ie smuggling). The problem for general goods is it slows everything down in the supply chain, increases costs which inevitably fall on the consumer and in some cases (eg Northern Ireland) creates supply problems as companies decide it's not worth bothering - I suspect there will be other fall out which will come to light. Yes you're not allowed to export (or import) a whole rake of food stuffs without licence etc and that includes sandwich ingredients such as cheese or meat. So they'll be confiscated if the Authorities have got time to or view it as important. I also think the financial services migration would be a gradual thing - frankly if it costs significantly more to operate from GB, then it will fail to be competitive and gradually lose its position so firms would either lose money or move to maximise their financial effectiveness. As a Kent resident this is like turning the clock back 30 yrs - I'm firmly of the belief that those responsible for selling the populace daft ideas and claiming all the downsides were fake or project fear should be immortalised - the two brand new 1200 vehicle lorry customs clearance centres being built under 'Brexit' powers on green field sites near residential areas in Kent (so no planning process or appeals even if it's right in front of your house currently overlooking fields 😏) really should be named the N Farage Memorial xyz facility. Still we can bask in the new found ability wave our UK flags and sing Rule Brittania without fear of contradiction these days as a proud and independent nation - oh wait - we did that before surely 😂

Final two steps before tomorrow's 'Chambers for the Superquads' (just you watch - Marvel will nobble that title . Expect a film on Disney+ before spring) marathon, a couple of jobs while the router table was out: Control chamber to final depth and initial back rounding: Initial top rounding: So tomorrow's job will be: - decide on the final positioning of the bridge elements, the fretboard and the pickups - create the three chambers for the Superquads. For this, I will be using the same method outlined for the neck pocket in the Wal save thread half way down Page 7 here: A Very Special Save - Page 7 - Build Diaries - Basschat Thanks for looking

(sorry Andy!)

Ah good. Something I DON’T want. Good stuff.

My Lovely Horse - Father Ted Crilly

I feel sorry for the poor copywriter in their marketing department who has to repeatedly concoct something other than 'It's another Precision' every time one of these is released. The thing is, I get that it's Fender and they can't stray too far from the formula, but why do come up with variants that are either hideous or dull?

Here we go, as influenced by @Stofferson

My uncle had one of these in about 1990, thought he was rich... anyhow... what were we saying...

But yes, if you know what you want in a Precision, then a bitsa self-build is the way to go, and often cheaper than buying a whole bass. The below is my keeper instrument, OK I've come close to selling a couple of times due to COVID cash flow issues, but having survived it remains my go to bass. It's like a Fender Custom Shop Tony Franklin Relic, although slightly more resonant than was my original TF (courtesy largely of a VERY good Warmoth neck with perfect ebony board and shallow depth 44mm nut which has made every bass on which it has been installed resonate for longer), Lollar PJ set, Kiogon harness, vintage Gotoh lollipop tuners (the aesthetics of which for some reason I really like), all for around the cost of a used MIM Precision. As per some of the comments above, basses are a lottery, with bitsas you just keep playing the lottery, albeit with components as opposed to instruments, which is a lot cheaper. It's also far more diagnostic/scientific, because with each switch you're in effect conducting a controlled experiment along the lines "what difference does switching this for this actually make?'. You get there eventually, it's fun but you also, I believe, end up with a bass that you feel closer to as the result.

The head of the CBSO was saying similar on TV a while ago. Of course a symphony orchestra doesn’t travel alone, like a rock band they have all manner of support staff travelling with them. There’s also opera companies, ballet companies too. They’re not sitting at home when they aren’t performing in London or Birmingham. These various cultural enterprises have a fantastic reputation abroad, they’re ambassadors for the country. What a sad loss if they’re prevented from continuing.

I have it on good authority, that you can use sovereignty as a substitute for any other ingredient in a recipe.

or if I played it!

Agreed. And the square-cornered control plate. I hate it just as badly on real Höfners, it would look so much better with rear-routed access to the pots and wiring and direct-mount pots.

I have never once worried this much about anything. Here’s how I run the scenario in my head (taking into account: room dynamics, band set up, amp, strings, pickup position, signal chain, bass construction, player, fingers or pick...all other possible variables...) For this - please imagine an internalised conversation with oneself... “does this sound good?” ’yes...’ “Very good - carry on...” OR ”Something doesn’t sound quite right” ’what are you going to do?’ ”change a couple of settings until it sounds better” ’very good’

Don’t say that. @Al Krow needs to realise it is a useless part of his collection that he must sell 😜 Surprised no ones mentioned about band setup and the frequencies they are taking up. If you want to cut through you need to find the space in the noise. Whether that be a P pickup, Jazz pickup, tweaks to active EQ, playing up the higher register or down low. For example if you have keys playing low, that likely to occupy the same space you’re in. Each environment/ situation can demand different setups, isn’t that why active EQ was put on the bass/ amps in the first place?

My studio (shed) is 8x10. It is rammed with stinky poo. Three basses, one double bass, six guitars, 88 note electric piano, two amps, pc, shelves of books, 1000 + cds, a soprano saxophone, hi fi and, taking up the most space by a country mile, my massive inflated ego. I sit in the middle of it pretending most of it isn't there.

Hi, just wanted to chime in and say I've been scammed by him as well! Same old SansAmp story. I've just sent him a message saying I'll report him to the police and ActionFraud so thanks for all the info everyone.

I wouldn't read too much into his reaction. As much as he is trying to be neutral, you just have to look at his recent videos and his wall of basses to know he is a huge EB Fanboy and Spectors are very different to EBs.

Which Jackson designed it? Pollock?

They have to be kidding. It’s not April 1 is it?.