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I’ve received another update from Jon. The neck now has frets and is looking rather fabulous....

I'd knock the idea of "democracy" on head - it's your band and your vision. You want a benevolent dictatorship, where others are encouraged to make suggestions, but you're making the final decisions. One of the problems with democracy is that people don't always know what they want. There's often a difference between "music I like to listen to" and "music I like to perform" - until they're asked to learn it, folks don't necessarily realise that a song actually has some really fun guitar parts etc. And some songs just come alive the first time you try them out as a band, even though the original's nothing special. I can't stand most 80s music, but I'd still rather see an 80s cover band with a coherent setlist and who've obviously put some effort in, instead of a generic "bit of everything" act!

Altho i started a new cab day topic i thought i would give this a brief update too. Went with the TT800 and the 210 and 115 cabs. TT800 wont arrive till June and using Mpulse on exact same settings as with my PH212 cab. The 115 cab sounds very similar to the PH212 tone. The 210 has same depth but the mids are now clearer. Agedhorse told me the Mpulse amp had a mid range scoop and that is probably why the 115 cab doesn't sound as clear in the mid range. He said i should boost the mids a touch and lo and behold he was spot on the 115 cab does produce that clear mid tone but not quite as good as the 210 cab on same amp settings. Overall i now feel i have a full range bass rig and 1st rehearsals with the new cabs will be next Sunday at a 6hr session. I'm really impressed with how much depth these cabs have compared to other lightweight cabs i've tried and at circa 19-20Kg each its an easy one-handed lift for each cab. As always i appreciate everyone's help and advice and allowing me to understand the subtle differences with the cabs. I'm happy i've made the right choice and i'd happily gig with either the 115 or 210 on its own. Dave

So I got a pretty big amount of money back from my taxes and decided to invest in a decent double bass. After trying out a few instruments I knew what I was looking for and found it in this Dutch built, all solid 3/4 bass, built by luthier Léon Christiaens in 1991. Feels great, adjustable bridge, in an amazing condition...lovely. Absolutely lovely. IMG_4599.MOV

That's possible, and you can't assume that any design was arrived at by scientific means. Marketing departments have a habit of specifying target dimensions, driver sizes and wattage ratings with little regard to how well it works, because they're interested in how it will sell. For instance, at one time the Kappa Pro Ten was a popular driver in 'boutique' cabs, mainly as its 500 watt rating could be advertised as a step up from the usual. However, it was designed for PA midbass/midrange, so with electric bass it worked no better than a 250w rated Beta 10 that cost and weighed half as much.

Decision almost made...love these BB5000a in purple. Eo, while not seen on a 4 string BB, is roughly era correct.

Ask yourself, what would Steve Harris do?

Yes, have been in a good quality covers band for 5 years now. We describe it as "rock and soul" but really it's an Irish stew of all sorts of songs with no real theme and some really bizarre ones creeping in more and more. Due to personal circumstances for a handful of the group the enthusiasm is waning, we are all good mates but there are flaws in the thinking behind the band. Health issues also might force the singer to quit which would be awful. Regardless, I've had my eye on doing something a bit different for a while. When I got the 80s band started the guitarist was very different, not a "blues w*nker" but someone who can really play and loves a bit of electro synth stuff to the point he's probably just as good a synth player as guitarist. His view is "nobody wants to hear another flipping guitar solo, they just want to dance" and he plays great big delay and chorus sounding stuff that sounds fantastic. The drummer is rock solid and a really nice easy going chap (odd, I know). The problem has been bringing in the singer the guitarist knows from an old band. She's very good, she's gigged a lot, if we stuck to a theme and styled it right (I mean dress the part, create the right visuals for online advertising, the right band name) I think it could be a solid band that could pick and choose its local gigs. I just fear being another "three middle aged blokes and a girl singer do random songs off Radio 2" which you see everywhere and are usually disappointing. Whereas "three middle aged blokes dressed like Miami Vice with an awesome girl singer play 80s sing and dance along songs" is a much more appealing proposition for an audience and for someone booking gigs. That's my view at least.

These Folks were from Derby. Got to play on the same roster as them at gigs in the Derby/Burton area in the 80's. Great band probably not that well known.

Back to the Warmoth inspired look.

Next the dreaded binding. Swore I'd never do binding again but I'm either stupid or have memory loss, probably both. Binding was a disaster, again 🤣 Had something looking like a bass. Grain looked great, sadly overall look was too dark ☹️

It's like a cat attempting to scratch a blackboard while another cat pours petrol on it, and as he tries to strike a match both of them start sliding down a steepening scree slope made up of innumerable sharp pieces of slate. Meanwhile, someone else is recording that sound, and playing it back through a 70s Waltham cassette player which is mic-ed up and broadcast through a bank of Kay's catalogue guitar combos with slashed speaker cones. In other words, not good!

We suffered a night of that game. Of course, they neglected to let us in on their 'travel light' plan until we turned up, which made for some interesting conversations given that we'd been told to just bring breakables as usual. By showtime everyone was annoyed, the sound was terrible all night, the gig had hardly been promoted either so the crowd was thin, and the touring act went down like a brick. By contrast, we got one where we'd been told to bring everything and get there early, which seemed a bit suspect and we assumed meant another sneaky 'lend us all your gear' gig. We got there to find the headliners doing a meet-and-greet soundcheck with everything set up, then they vacated and we were invited to set up in front of their stuff and given a proper soundcheck. Turned out we were the only support band that night and we had an hour to fill on the main stage, instead of the 20min first support slot in the little room that we were expecting. That gig was a pleasure to play and the touring band were excellent!

Say what you want what you really really want 😁

So, during the break in lockdowns last autumn I advertised to start up an 80s band and recruited a drummer and a guitarist all bought in to the idea. We tried with me doing lead vocals but it's not my strong point and it restricts what songs can be played bass wise as they need to be playable and singable. Guitarist knows a singer so we agree to give her a go and then lockdown happens. We met up, and it went well, except we are now suddenly in the position of too many competing opinions. It's disappointing because there's an overriding movement to move away from 80s ranging from doing disco to mostly 80s but include some more recent songs. They're good songs but it's going off script somewhat and while I'm usually willing to try most things I've got my reservations, here's why: 1. A band that plays bits of this and bits of that is hard to market. I know because I've been in a few and am in one now and I can't succinctly describe it. Whereas "we play 80s pop" is easy for everyone to get their heads around and makes you a potential go to "get that 80s band back!" is better than "get that good band back... Can't remember which one they were" 2. I just think it's a bit sad when the band members are aged 37 to 50 and they're playing recent songs, it's like "here's one our kids enjoyed before they left for uni!"

Once I've mastered a 36" unlined fretless six-string Dingwall, there's no way I'll be seen in public with anything else 😁

I still use an 18" bass cab as a stand alone cab for some of my reggae gigs but prefer it with my 1x12" cab as it gives me a bit more detail whilst not detracting from the low end. I have used it like this on a few gigs and mainly on gigs without the bass in the PA.

I had a dig about & I found this from 1981 (!) Shows my gig wagon, decks, and more importantly (bottom right) a view of one of my twin18 & Vitavox boxes (the other boxes are some of the Tannoy 15's that I bought from the Blind Beggar pub) (why do we never take 'proper' pics?)

OK, back to BB topic... Before the last layers of lacquer...the Yamaha Logo 🙂

Have a look at the Ibanez Mikro bass range. They are much better ergonomically than those you have mentioned in my experience. The Mikros are short scale, lightweight with slim necks and a very comfortable body profile. Rounds are usually much easier to play because most flats (TI flats ££££ excluded) are higher tension and tougher for beginners. Just about every new bass will be supplied with an adequate set of roundwounds on it already to go.

I'm fed up with trying to be like everyone else. 🙂

Tips the scales at just over 6lbs. Set of La Bella double ballend tapes are on the way from Bass Direct. I do like that natural grain finish, might try this again. "Again" of course means no binding and it'll still have a peghead 😃

You don’t sustain the album sales that GB has in today’s world if you aren’t musically talented. There’s more than enough people ready to pounce and take you down. The fact that he was writing a soundtrack that defined a generation kind of says it all. You may not like him or his music - but his credentials stack up and are underpinned by his success.

You’re going to need to keep the jazz and get a MM to compliment it. As soon as you have the MM you’ll miss the J. 😊

The Spice girls were terrible. There was nothing remotely spicy about them I did quite like dirty spice the ginger one though. Music wise this was the beginning of the end next thing we now people were crediting Gary Barlow as musically talented.

Hi all, Seeing as I have a particular penchant for Lakland basses, it was suggested that I might start somewhat of an 'appreciation' thread for Lakland Basses, as we have for a few other brands. This isn't quite the 'porn' thread that we have in the gear forum (although please do feel free to post your Lakland bass pics here too), but a bit of an information resource, chats about what you'd love to order, dream basses etc etc. While I don't represent Lakland on any level, I am a big fan, and know a fair bit about their processes and capabilities (custom-shop etc), so happy to answer any questions on that front. With that in mind, and without having too prescriptive a brief for the thread, have at it Here are my current crop, with my oft-commented on 'signature' passive P/J 44-94 (it's not a real sig as you might have guessed, I just like to call it that haha): L-R: Skyline DJ5, US 44-94, US 44-64, Skyline 55-01 Si

Fretless??? You absolute monster! All fretless players are terrible people. 😜

Absolutely not! There's some pretty big shoes to fill... Doug used to do this and found something positive to say about every entry. My positive comment would usually be something like "and then mercifully, it ends".

Ooo Thanks! Off to have a word with the b̶a̶n̶k̶ ̶m̶a̶n̶a̶g̶e̶r̶ missus!

Hi Guys I have an Olinto P Bass sounds and plays wonderfully. Roasted flamed Maple neck, Roasted Alder body, Brazilian Rosewood fretboard. Mas Hino custom pickup, Olinto reverse tuners, Reliced finish by Carbonetti guitars, best P Bass I’ve played other than Sean Hurley’s original 61....

My neighbour's dog does.

I don't think a band can - or should - be a democracy. You put it together, you know what you want & have a particular vision for the band - and you are able to very clearly articulate in this thread what that is, how it will work & why trying to change it weakens it & makes the band less marketable. I think you need to explain it to your bandmates in the same way & remind them (diplomatically is probably best!) whose idea the band was in the first place! Not sure, but it sounds like it's predominantly the singer trying to pull it away from your original concept - if so & she can't be talked round, you might have to accept that she's not the right singer, no matter how good/experienced she is.

A guitarist I played with 10 years ago wanted to start a mod band. It was his vision so they stuck to that and they were doing ok on the mod scene up here. If the 80`s band was the original plan you should stick to it and surround yourself with people on the same page as you. No point in playing stuff that you don`t want to, stick to your guns!

I'm in, I have two Skyline's & if one of these with the ebony board ever turns up on the UK market I'll have three 😁

I'm really happy that this thread appeared - as a proud owner of a 55-02 I'm surprised that there is not much Lakland love on this site. I wonder why? Is it that they are just not popular, or that it is our hidden secret? I picked mine up second hand about a year ago, as I wanted a bass that would be an easy transition between 4 to 5, and most 5ers have much more narrow string spacing. Played a few of them in the Bass Gallery and fell in love with the neck and the tone. For quality is easily on par with my MIA Fender Jazz. It is so rich and full in tone. It doesn't have a unique tone, I admit - It doesn't imitate other basses - rather it gets in the ballpark but then adds some high-fidelity with the LH3 preamp. Compared to other 35" scale basses it doesn't feel all that different to 34" (that said, technical playing down the lower frets does feel a little bit of a stretch and can be a bit tiring). One thing I have noticed is that most of the 55-02s I see around on the web are on maple fretboards - it's almost like this is the default fretboard material for 55-02s. But interesting that many Lakies on this thread are rosewood. I always wonder whether the maple is that much better for this pickup combo (and no, I don't want to get into that debate)? Anyway, thanks for the thread! Toby

Suddenly it was mid Feb and I'd been sitting on my backside for too long. Made a start. That's commitment , it was also the last time I remembered to take a photo.

Don Chandler is the best out there IMO, and so is Jamaican bassist Glen Browne , has a channel, he’s worked with lots of top reggae bands over the years , he’s the bass player for Tarrus Riley, the Browne family are are all in the music industry, very chilled and informative lessons

As a wise and knowledgeable engineer once wrote understanding what a compressor can do for you and figuring out if/why you need one is half the battle. The wise old engineer listed these points as some reasons one may wish to ‘compress’ their sound. Dynamics control. Tone enhancement. Speaker/amp protection. For added sustain. As an effect (ie Tony Levin). Only for pop/slap. To keep filters/other effects from blasting ears. So I can use a much lighter touch on the strings.

Sounds like an excellent reason not to have one then.

Well, NPD (new plane day) today! Tooltique did a good job with restoration. Pretty much ready to go, just a quick sharpen/hone and away. Was going to start with the neck but the ash body blank was too tempting, so jointed and glued.

Did this in a covers band. that’s all I have to say about that.

To me, the original piece is a matter of timbre as much anything, which, despite the excellent technicity of the fellow, lacks wholly. I couldn't get far with it. Quite a 'Zappa' approach, and kudos for the enormous work involved, but I prefer the orchestral version, no contest.