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We're back at The Bend Theatre this Saturday night, opening for Reverend Raven. Catered dressing room and we play a 45 minute set. My type of gig. Maple Road By presenting an eclectic blend of blues, rock, and folk jams, Maple Road is a band that does not fall short of keeping an audience entertained and intrigued. While honoring musical heroes and legends, the group also strives to craft original and memorable tunes that allow each band member and the audience to interpret the music. Reverend Raven + Maple Road Blues Band - The Bend Theater | West Bend, WI https://share.google/vkEznZyOQe7dRBx7y Daryl

Second rehearsal with the new live electronica project coming this week. Session one was an eye opener for the overall sound I need and it’s let me cut the board back quite a lot… way too much stuff that got in the way of the keys. For the first time in ages I’ve put the PT Jr Max aside and downsized to a PT Classic 1. I expect a pedal or two to get swapped about over coming weeks, but the core feels solid. Worth noting that at no point during this do I have a clean bass tone. The OC2 (edit: OC5!) is always on as a minimum.

At the start of this post I said I'd just had a custom fretless made but as we'd just gone on a three year posting it didn't make the journey and spent it's time in the UK only getting played on the odd trip I made back. Well, now we've moved back to Europe and the bass is with me and in fact is the first time I've heard it plugged in. I've waited 3 years to hear those custom weather report pups! Of course it sounds as good as it plays. Just need to find a band to play it in now.

Hey everyone! I don’t think this topic exists yet, so I thought I’d start one to showcase Mustangs and similar models – things like the Fender Musicmaster, Vincent Pony, Atelier Z Baby Z, and other Mustang-inspired basses. This is really just a “show us what you’ve got” thread – what you love, what you’re not so keen on, what’s on your wishlist, and any rare finds you’ve come across. Personally, I really got into Mustangs after the release of the Fender JMJ, and since then I’ve owned a few different Mustangs and their sister models. So let’s see what you’re rocking!

As a relative newbie I’m just finding my way. Struggling to get a consistent overdrive sound so I’m layering them up to suit what I play. Not all successful but I’m getting there. Sorta addicted to the Ampeg preamp……

The Steinberger L2 will always be the bass I wanted most but never got. It's a beautiful object. Some people used to complain the sound lacked the warmth of wood. It was supposed to! These basses had a tone all of their own and it's unique. I love it. I too remember when these basses first came out. In 1982 the UK retail was £999, and Soundwave in Essex were the sole importer. That's about £3500 in today's money. At that time I was lucky if I could muster £9.99, so it was just a dream in those days, but I passed on buying one in the late '80's and the early '90's when I easily could have, and then before you know it thirty years has passed, Steinberger are long gone and it's all ancient history. Regrets? I've had a few.

I remember back in the early 90s I walked the Tour de Mont Blanc with my girlfriend... We carried a tent, and food/clothes for 7 days - being fit we managed the 100+ miles in 4 days but we'd sweated like pigs as it was also warm. When we got back to Chamonix we looked for gifts for folks, a friend of ours was well into Reblochon so we bought her a decent lump. As we were going home on the coach I'd put on my lightweight shoes for the journey back so the only safe place to put the Reblochon was in my mountain boot (the one I'd been wearing for 25+ very sweaty miles per day) in my pack. The nearly 24 hour journey was accomplished in sweltering heat - 30+C - so we naturally worried a bit about the cheese. However, there was nothing we could do... When we got back the cheese had melted into the shape of my boot, but we stuck it in the fridge and gave it to our friend the following day. A week later we saw her and she thanked us effusively for the cheese- "it's the best I've ever had!" she said.

My partner likes stinky cheese. When visiting Maastricht I went to a cheese shop and asked for their stinkiest cheese and was told that airlines would refuse to take it in the cabin. I was returning by train so that was fine! I got in late and the smell was so rank I had to put a note on the fridge to warn the other half and the lodger that it was the cheese and to be prepared before opening the door.

Atelier Z Baby Z-4J represent! Easiest playing bass I own. The knobs have been replaced with Sadowsky-style aluminium knobs (Guyker) since this picture was taken, just like Atelier Z uses now (the old ones were the stock Bartolini knobs). Otherwise it's still very much the same. I believe the Baby Z (or any Atelier Z with the KTS titanium rods in the neck for that matter) isn't actually made by Atelier Z themselves but by Fujigen Gakki. Either way, it's a fantastic bass! Controls are neck volume - bridge volume (pull for passive) - stacked bass/treble (boost-only). It's quite a powerful EQ that can add a lot of oomph and a pleasant zingy top end, while still sounding very musical. A passive tone control would have been nice, but is not a must. It has a slight neck dive, but nothing that a good strap can't counter. I traded my 1981 Ibanez MC924 for it with a lefty friend of mine in the US, and I have zero regrets. The Atelier Z weighs about half as much as the MC924, and has a lovely narrow U-shaped neck that instantly felt familiar. The 17mm string spacing at the bridge took a little getting used to, but is not unlike some of the 5-strings I've owned so wasn't a huge switch. It's brilliant! If I ever find a lefty PJ version (with a reverse split coil) I don't think I could resist.

Here's my 76 Mustang. Lovely little bass. It's got an almost 40mm nut, so it's fairly chunky for a short scale. I've put Hipshot Ultralights on it because the original tuners were knackered, a stainless steel refret and it needed a refinish when I bought it, so I did a bad job of a white blonde nitro, complete with a black vinyl racing stripe decal and matching strap! All wear on the body is by me since refinishing it. It's been to Japan and back with me. I dont' have much call to use it right now, but I'm not sure I can part with it! It was my first Fender, and it just fits me. And here's me (when I still had hair) playing it on tour in Japan back in 2012.

Here are a few I’ve owned over the years - still holding on to my JMJ. I also own a Fender Mustang PJ II in white and have an Atelier Z Baby Z on order. Over the years I’ve probably had 10–12 Mustang-shaped basses in total. Highlights (and lowlights!) include: - A Firemist Gold Fender PJ - A second 1978 Musicmaster in white (honestly pretty rough, definitely not my favourite) - The natural-finish ’78 Musicmaster pictured below - one I really regret selling - A couple of heavily modded Squier Broncos - One pictured below So at the moment I’m down to three in the collection, but Mustangs just keep finding their way back to me.

Tell me they're a Fender brand without telling me they're a Fender Brand. "Well, their latest product is called the Limited Edition Pro Plus Series Pure Metal..." Got it. I also love how the marketing department suddenly forgets it's a bass in the last paragraph, and quotes a 25.5" scale instead of 34".

I would have put this in the short scale appreciation society, but it's 32" so I'd be run out of town. Just picked up my Mullarkey the other week - Couldn't be happier. It was a bit over a year from initial order to delivery. I've taken it to a rehearsal, and I've found all pickup combinations are very usable depending on the song. The clip I've attached is the bass straight into an Audient iD4 into Cubase, no EQ, no plugins, nothing. 32" Mid Scale Nitro Finish 12" Larger body than a regular Mullarkey. Roundwounds rather than the stock, everyone seems to have them flats on it. Untitled video~2.mp4

Bredon Cider Fest 2025, Jagged Little Alanis (www.jaggedlittlealanis.co.uk) headlining Friday night - this is a wonderful small festival with a big feel when you're onstage. The crowd are great, no lairiness, everybody happy as anything. Cider selection (and beers) was outstanding, food was good, and neither was extortionately priced. A great example of a well run fest, getting in and out was easy and seamless. They ran like clockwork and the sound guys were excellent, even though they'd come on board late in the game and didn't get the spec sheet (which is extensive for the band). The wig was a £10 TEMU job, it's surprisingly good haha Video is of the crowd singing the first verse. Ends abruptly as I suddenly realised I had to get my arse in gear on bass! Tribute acts aplenty (really good ones!) over the 2 days, such a great little fest. IMG_3761.mov

JMJ and Harley Benton wannabe.

So how much are Jackson paying you for this advert?

🧟‍♂️ Resurrection time. 3 years have passed, but now I’m well and truly back in the fretless fold. I recently took my custom Maruszczyk fretless to a rehearsal (Stingray-alike), just to show it some love and it sounded great. I avoided slides and vibrato where possible as the genre doesn’t call for that style/tone and it just roared, there was a definite Ric vibe to the tone, especially with a bit of grit from my VTDI. I was so impressed (as were my band mates) that I used it for a gig the following Saturday, both sets. The fretted spare (my usual go to bass) stayed in its gigbag all night. Since then it is the bass that I pick up first and I’m loving it all over again. Good to be back.

Taking a cue from its 6-string series siblings, this Pro Plus Series Concert Bass CB1A is a no-holds-barred behemoth of bass-crafting ferocity, emerging as a limited-edition axe that joins Jackson’s Pure Metal collection of high-flashpoint single-pickup powerhouses. As soon as the CB1A landed at Sweetwater’s Guitar Shop, its bold attitude was impossible to ignore — from sleek fretboard and body binding to the lone Fishman Fluence Bass Soapbar and gleaming chrome hardware, it blends stripped-down looks with seriously flexible sound. This onyx-hued haymaker marries premium poplar, maple, and ebony tonewoods with a compound-radius fretboard, graphite reinforcements, and a blistering 3-piece neck, collectively empowering you to wield multidimensional degrees of subterranean sonics. With the Jackson Pro Plus Series Pure Metal CB1A bass, an arsenal of aural alchemy awaits. Forged with a tenacious triptych of tonewoods Plunging the depths of the Pro Plus Series sonic power is no small feat, and Jackson outfitted the neck-through-body Pure Metal CB1A with a floorboard-breaking foundation to level the low end. The bass’s poplar body anchors your tones in a resonant, full-bodied profile, prized for its straightforward sounds, invigorating low-frequency presence, and a depth that especially enriches mid- and upper-range character. A maple neck endows your tone with a smoldering brilliance that’s teeming with clarity and natural note-separating articulation, ensuring even the most diabolical lows are voiced with distinction. Up top, an ebony fretboard completes this Pure Metal bass’s tonewood triumvirate, with a deliverance of sustain, crystalline presence, and powerful precision, punching through every register. Fishman Fluence: one pickup, limitless multi-voice malleability For this Pro Plus Series Pure Metal bass, Jackson’s luthiers devised a deliverance of voltaic sonic-contouring versatility, thanks to the industry-disrupting engineering prowess of Fishman. Mounted at the bridge, an active Fishman Fluence Bass Soapbar pickup unlocks a multidimensional mélange of musicality via Fishman’s state-of-the-art Fluence Core technology. The menacing multi-voice vibrance owes to a dual-bar magnetic circuit, outfitted with a galvanizing Ceramic VIII magnet, with three selectable voices instantly activated by the onboard 3-way mini toggle: Passive, Active, and Single Coil. Across this triptych of tone-crafting configurations, time-tested and cutting-edge sonics are yours to hone, from time-tested and full-bodied to full-range and explosive dynamics to funk-inspired and mid-scooped magic. Furthermore, a dual-concentric Tone knobs supports a 2-band EQ, refinishing trebles and basses with exceptional detail, while the Volume knob’s push-pull function lets you immediately split the coil. Built to wield sonic sorcery with uncompromising precision Whether you’re plundering binary breakdowns or foraying into a frenzy of upper-fret fireworks, Jackson designed the Pro Plus Series CB1A to thrive under numerous high-octane arrangements. Its sonorous bridge and neck-through-body build give you enduring sustain and unwavering intonation, while the near-seamless heel and comfort-focused contouring ensure unencumbered access to all 24 frets spanning its 25.5-inch scale. Meanwhile, the fretboard’s 12- to 16-inch compound radius ensures myriad playstyles are supported with speed, control, and precision, flattening as you approach the higher registers yet accommodating numerous playstyles with comfort and satisfying in-hand heft. What’s more, the use of a 3-piece neck doesn’t merely enhance the bass’s harmonic depth; it provides an increased dimensional stability, compared to a single-piece neck. This design means fewer trips to the workbench and more time with the music. However, Jackson’s studio-to-stage support doesn’t stop there. Pairing this design choice with graphite reinforcements adds another degree of stability and reduces weight, mitigating neck-diving tendencies and guaranteeing the sonic endurance needed for road warrior-worthy wonder.

I bought this cab a few years ago with the intention of restoring it and possibly keeping it. I have two 408s already so in a moment of rational thought I decided to sell it as bought and as A project for the next owner to tackle. No sniffs on the sales thread so I decided to do it up. I stripped it, repaired the front lower edge with new wood, filled the dents and scars with 2 pack filler. Re tolexed with period correct fender silver face era. Thankfully the grills were without damage so they just got a good clean. Pictures are in reverse order.

I think it’s shaping up to be very not funny. the first one was a classic and completely original, but this one seems to be just flat. They seem to be doing the rounds and getting a lot of air time

I think if I wanted a pointyhead 80s hair-metal bass, I'd find a real pointyhead 80s hair-metal bass. It wouldn't be £1400, it would almost certainly be MIJ, not Indonesian, and it would probably have one of those amazing multicoloured crackle finishes. That said, I didn't want one back when they were current & I certainly don't want one now. Not sure who the target market for stuff like this is in 2025, tbh.

This bass was a real saviour during a period when I couldn’t play a long scale, but was playing a lot. 1971 Musicmaster, cost me £250 in 2004. When I got it the pickup, pickguard and bridge were changed and it had a natural varnish finish. I soon after added a Jazz pup, and Mustang tuners. Later it had a new bridge, pickguard and sunburst respray shortly before I sold it to a guy who also bought my ‘78/9 Sabre that I always wanted back… Sold this Musicmaster when I was able to use a P Bass again and needed some cash. Great bass, really loved it, ideally would have kept it for nostalgia and odd times of playing it. The neck was divine 🤤

Tbh I'd just get the Ibanez Mikro, they're dirt cheap used and you can upgrade it as you see fit. They have a lot of fans on here, generally regarded as solid basses which punch well above their weight.

"Is this the end" is a daft clickbait question. First, what is "this"? Secondly, what is "the end"? Thirdly, if by "boutique" you mean custom built basses, then of course it isn't. As long as there are people wanting instruments built to their own desires and specifications, and as long as there are luthiers willing to build them, then there will be 'boutique' basses.

You're forgetting one very important aspect: A carbon rod is passive. A truss rod is an active part. If you dial a curve into a truss rod it compensates the tension of the neck much more than a carbon rod that just sits there.

Thundercat, Tal Wilkenfeld, etc

You won't be getting a bunch of 60's alarm clocks and scraping the glow in the dark stuff off then?

f*** me, what a load of bollocks that turned out to be 😂

GR Bass One 350 ordered today. Thanks to everyone for their invaluable thoughts and suggestions. I’ll let you know how I get on!

I bought one of these new for £199 from Dawsons Manchester (probably served by @AndyTravis) in 2005. Unlined was a bad choice for me as a new player but it played well enough. Found a pic:

Just fitted a celluloid pick guard on my p bass. Here’s a before and after photo

Isn’t that good for the ego?

The nazi of the insect world, mindlessly violent for no other reason than that they just are

Depends on whats to do after. Check out the heat gun approach on youtube.

Yesterday, I had the first of what should now be regular singing lessons. It was only a short one due to temporary issues around a teaching venue. That will be resolved once the teacher has got a new house. I also went to my first rehearsal with a new choir. First impressions are favourable. I have about six months or so to go of not being able to play sax owing to the bone graft and tooth implant. In a random fit of wanting to do something different, I had a go at playing a brass instrument for the first time (I did clear it with the dentist first). I went to a local group that was having a 'have-a-go' session for newcomers. I opted to have a got at a euphonium and got some noises out of it, some might even have born resemblance to a note. The euphonium is the same pitch as both my cello and baritone sax - it starts on the Bb below bass clef and cello and sax both start on the C. An annoying aspect is that in band repertoire, the euphonium is regarded as a transposing instrument in Bb and is written for in treble clef. This is so that a player of another instrument can just play it if needed as the fingerings are then the same. Away from bands, it is treated as being chromatic, non-transposing, and the music is at concert pitch in bass clef. If you want to play both, you need to learn two sets of fingerings. Saxes have the same issue. They have always been fully chromatic as they were invented in the mid-C19th and did not develop from a more primitive instrument. Nevertheless they are treated as transposing to avoid having two sets of fingerings for Eb and Bb instruments.

Really good and not just for the money. The bridge pickup is underpowered compared to the P pickup, but that’s not unusual. I’ve been considering putting an EMG GZR set in it and selling the JMJ.

What a great looking bass. No doubt you're going to have a great time gigging with it! Having spent five days with Jon in his workshop a few years ago, I know how good he is what he does and how much pride he takes in doing things properly.

A bit late to the party but I have one of his basses that I bought about 25 years ago in the old Eastbourne Music Exchange. I didn't realise how good it was at the time but I've now discovered that it's pretty high spec for what I paid for it (about £350 I think). Here's some pics of it. I only found out the other day when I changed the pick guard that it has a Bartollini pre-amp. I remember that he also made a friend of mine a custom copy of a Warwick Fortress which was really nice but weighed a tonne!

I mean you won't hear the horizontal dispersion advantage - not that you won't hear the cab.

For me fretless has always been a bit like an effects pedal... something you only pull out when it fits the song. That said, last year I got carried away and played a whole blues set on mine. The audience reacted as if they'd never seen a fretless before, which was good for the ego 😁 but I've resisted repeating the exercise except the odd rehearsal.

I'm bound to have recounted this before. In the early 90's Spinal Tap were promoting their album Break Like The Wind. As part of the promotion, they came into the studio where I was recording at the time. From the moment of their arrival to their departure, 3 hours later, they remained in character and were simply hilarious.