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If was after something to double on gigs with my upright bass. In order to quickly put down the upright and pick up the electric bass it needed to be lightweight and shortscale. The band is all acoustic (through PA) so I wanted it to look right as well. I saw Eastwood selling Rivolta guitars on their website and they were making twelve of these Duocata basses and it ticked all the boxes. I do like the look of Rickenbackers and love a florentine cut. These basses have checkerboard binding and more than a hint of Rickenbacker about them, the soundclips were good so I ordered one. It was a gamble as I'd never heard of Rivolta before but it paid off, this little bass is fantastic. So well made, so playable and sounds great. Simple, single PU, volume and tone but there's so much variation in tone with playing position. I'm really fussy but I really can't fault this bass, well I can but it's three really minor things that most people would never notice, or let bother them. The volume control is a touch on the on/off side, there is a tiny bit of plastic swarf on the inner lower edge of the 'f' hole binding, and the biggest bug is that the scratchplate isn't perfectly aligned to the strings. Told you I was fussy. All easily sorted though. The woods, the grain and the colour is lovely. The neck is a three piece with two more strips on the headstock, like a Rickenbacker albeit they're all the same wood. I don't know what tuners they are but they feel solid and stable. Nor do I know what pickup it is but it sounds great. The binding everywhere is perfect, you cannot feel any edges, the frets are nicely finished, paint is perfect, just a really well made bass. They're made in Indonesia then sent to Rivolta in Nashville where they set them up and QC them, it arrive still in tune really nicely set up. Anyway, enough waffle, pictures 😁.31 points
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This is my 1980 Wal Pro 2E, it had been sat in its case for the last god knows how many years in need of a good going over. The pots were knackered, the jack socket was shot to bits, it was basically unusable but I had other working basses and so it wasn't a priority. Eventually I came to my senses and gave it to Paul at Electric Wood to do his magic. I was expecting it to take ages, which I was fine with, but he turned it around in only a couple of months and then apologised for taking so long . He ended up doing a whole list of other stuff that I hadn't realised needed doing, but to his credit he stuck to his original quote. And oh my god, it sounds incredible -- I'd forgotten just how good. It'll be coming with me to the various Bashes this year, so you can see for yourself. And it'll be getting its first gig for at least 20 years at the end of this month, at a dementia research benefit with the ska band.28 points
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Playing ten miles out of Bournemouth in Ringwood. We (Otis Jay BluesBand) are beginning to hit our stride now with our new girl, and the social media reviews have been kind. Played my Sandberg VM4 through Galien Krueger MB200 and Barefaced One10. Perfectly adequate for the acoustics, though I did need active bass boost for a couple of numbers. Notable milestone - played our first band original last night, which was happily video’d by an audience member. Slight gripe - 34 paying punters is probably our lowest attendance at the venue (we split ticket money 50-50). Are people finding the new year hangover is now lasting through February? Three gigs in March, so here’s hoping things pick up a bit. The band are now ignoring my request to wear dark colours (like proper blues people) so I’m retaliating with the b/w pic!18 points
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Great venue for us last night with BLOCKBUSTARZ at The Ferry in Glasgow. Our first time there. The original band that was booked had to cancel and asked if we could fill in for them. Initially said no as they get paid half off what we normally charge. Venue got in touch and we settled on a compromise of a decent fee plus free food and first drink. Venue set aside a table for 6 just off the bar area which was the highlight for me. It was good sitting down for a meal and a blether with my bandmates. All very civilised. Food was excellent too. Anyways back to the gig. Load in 3pm sound check to be completed for 5pm to allow the support band time to do theirs. We set up and finished sound check by 4:30pm. Have to say the SE Stewart from Greenroom Studios in Glasgow was exceptionally good and even told the drummer to retune his snare and how to set the snare for optimum effect as drums sit in an alcove type thing below the upper deck of what was the old Renfrew Ferry. He really was top notch and sound both on stage and off was probably the best i've ever had. I could hear everything clearly across the stage and thru monitors. A perfect balance. Support band was GlasQuo who were all good guys too and easy to work with. Nice listening to a bit of Quo. Bass player was using my rig altho the bass was DI'd to desk and split to my amp as a stage monitor only. Normally i wouldn't do that but the guy replicated my on stage sound to FOH so all good. We don't normally play with support acts because of our costumes and getting ready for the show takes 30mins. Again SE sorted out the full stage when they finished. Two drum kits on stage so that meant dismantle one and pull our drummers kit forward to the front. Fair bit of work but he did a fantastic seemless change-over for us. This guy really knows what he's doing. He literally made our life so easy on the night. Huge respect where deserved. Gig went exceptionally well only a few mistooks (not by me of course 😉) Originally asked to do 2x45min sets or extend it if we need to depending on how change-over went. We opted to play right thru rather than take a break for a costume change from 10:15pm to 11:45pm but we had to cut a few songs out to fit it all in. SE told us we were first class and that the owners were very impressed by us and expect to ask us back. He said even the staff thought it was a great night and apparently they mentioned that the band were all very nice, pleasant and helpful with them. Fun taking the gear out at night as tide was out a bit and ramp was quite steep. Big downside was the parking in Glasgow. We could park on the esplanade area at The Ferry only to unload for approx 20-30 mins however on street parking only allows for max 2hrs stay then you need to move outside that zone so we stretched the venue parking to 4pm and then parked across from the venue on a side street. On street parking was £1:80 /15mins so we found a car park that was only £3/hr so £6 for 2hrs then free street parking after 6pm. Its only £10/day in the private car park so that's not too bad and that's what i'll do next time. Come April this year on street parking restriction will change from 6pm to 10pm so street parking won't be an option if we return as we would need to move the cars every 2 hrs until 10pm. Its a bit of a joke and not good for the staff that work there. The council are also planning to double the fee for parking. This could kill off the many city centre venues that host live music. Nice we 1hr drive home with clear motorways and very little traffic. Usual gear :- Sandberg VM4 with MarloweDK back up. Shure wireless, Keeley Bassist comp, Handbox WB-100, BF 212 cab, Platform boots being the footwear for the night. SE sent me some pics he took. Dave18 points
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It was our first time at the 1912 in Sileby and what a great sounding room, with a nice vibe too. They had a low stage in the corner with plenty of room to fit a band on, and more importantly plenty of power sockets in good working order (which makes a change!). The venue also put some effort into advertising the event. We had a room full, but probably 90% were our regular followers. I'd have hoped for a few more locals. With the room sounding so good it probably lifted our performance a little more than normal too. We started off with a bit of rock and prog, but for the last set got much more dancy and filled the floor. We had a great night and lots of compliments. Oh, I nearly forgot to mention. The guitarist brought along his old 70s strat which was his sole guitar when we were all poor in the 80s and only had one guitar each. We played together for about 10 years, him on his strat and me on my Aria SB-1000. Well tonight, after much anticipation, he said it left him cold. He struggled to get it to sing and ended up playing the Vintage (brand) thinline tele he'd brought as a spare. He thinks maybe he's just no longer a strat guy, although I did mention he hadn't got the old Marshall combo he used to lug around. At least he still loves the guitar I built for him - a super-lightweight LP Junior double cut copy with twin P90s 😁 And look, the lights change colour 😂18 points
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My old Fender Telecaster Bass dates from 1972. The Basschatter who I got it from had the P bass pickup routed and the body refinished by John Diggins. When we exchanged it a few years ago it didn’t have the original Fender humbucker however I managed to source an original which I imported from the US. I added an extra original volume pot from the same era and sourced a 70’s Fender knob. It is wired like a Jazz bass two volumes and one tone. It has the three bolt neck with working micro tilt and a working bullet trussrod. The original finish was natural as there is a stamp under the mudbucker. The tuners, neck , frets and body are all original although I’m not sure of all of the pots and definitely not the wiring. The bridge had been swapped for a four saddle top loader job so I got a two saddle through strung with saddles that can be angled. More in keeping with the original but easier to intonate. The P bass pickup is a cream coloured late 70s vintage Dimarzio DP that sounds fantastic. The big humbucker has real sub bass to it and there are some classic tones to be had between the two. The Diggins refinish is intentionally worn with crazing however there are areas where the routing was rough that have been filled and touched up on the front. There is a larger buckle rash area on the back also touched up rather clumsily as the colour match is very poor. It protected the wood at least! My original intention was to take it back to a natural finish but I’ve not got round to it - as usual…. The scratch plate is a copy of some kind, when I got it the bass looked more like a Mike Dirnt Tele. My luthier cut out the area for the Fender humbucker. The ashtray is original and you can see the remains of the perished rubber mute on the inside of it. The bass plays well and is strung with Elixir coated strings. It is quite hefty but nothing like some of the Tele basses or other basses of this era I’ve played. It is around 4.7kgs. The bass in an earlier incarnation is pictured and described in the Haynes Fender Bass Manual. It’s a players bass rather than one for the collector. It could be restored to the original spec if you really wanted to but you’d have a one trick - albeit a good trick - pony. I’m reluctant to shift it but my P bass isn’t selling and having had some large vets bills recently I need to free up some cash. It is a rare opportunity to buy one of these old Telecaster basses at a sensible (I hope you think so too) price. Pickup preferred but I can post in the UK at cost. Sorry no trades. There isn’t a case with it but I’ll try and source one if you want it posting, otherwise it comes with a Fender gigbag. I’ll be sad to see this one go. I’ll add more pics if required. All the usual ID stamps are on the neck heel and pocket I would rather not remove the neck as they are a faff to set up with the micro tilt. Pics added of how it came to me and the mark under the scratchplate before it was cut to accommodate the mudbucker.17 points -
What a sequence of events, but to cut it all short played Three Compasses in Clydach with just one, dep, guitarist. He'd done a lot of prep so only two big cockups... used a capo on the wrong song (I eventually figured out my bass hadn't gone flat and played up a semitone), and left out the key changes in one song where we play a different version. Great pub venue with playable(apparently!) Instruments on the walls, nice stage area, lights and excellent house pa so ours stayed in the van. My rig boomed a lot (near a corner plus hollow wooden stage) until I cut bass and boosted top and middle. Appreciative audience with some dancing, all a bit chaotic but great fun.17 points
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Quite a show on Saturday night, I played with a symphony orchestra! A local symphony had a "Swingin' With The Symphony" concert at a lovely theatre in North Bay and our band was part of it. The first half was just the symphony playing arrangements of some swing tunes and jazz medleys and then the stage was rearranged and set up for a big band in front of the symphony musicians. The seven members of our band formed the core of the big band and it was filled out by symphony players and some community musicians so we had 4 trumpets, 4 trombones, 5 saxes and a 3 piece rhythm section. We played 9 songs and what made it different was that the orchestra director actually took 7 of the big band charts and wrote complete orchestrations so on most of the songs we were a BIG band with the full orchestra backing us...fantastic sound but for us it was odd hearing bassoons and tympani parts in swing tunes. The audience of about 600 loved it and although I had one senior moment I managed to get most of it right, no room for mistakes when you are reading orchestra charts. The conductor occasionally sings with our band and that is how this whole thing started, he put in an enormous amount of work writing all those orchestra parts but they all worked well. I used my Shen SB100, NuX wireless to a Schatten Design preamp with volume control and my Traynor SB112 amp and because of the excellent acoustic qualities of the hall I didn't need anything else, I had plenty of volume even at the loudest orchestra parts. Good music, good players, good hall added up to a memorable night, I'll remember that one for a long time.👍😃 Edit: The first photo was just prior to actually playing and it looks like I play lefty but I was just standing in an odd position.16 points
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I did my first gig with the covers band last night at The Whitmore Tap, Clifton/Redland, Bristol. It was quite stressful overall especially being the first time with a very established band. The footprint was so small and the layout so weird, we didn't have space for monitors, lights or my mic stand. I had my pedalboard on my amp and had to stand still to not hit walls, drummer and 2nd guitarist with the headstock. The pub has waist-high wooden screens that form booths and the sound was muffled everywhere. The load in/out was horrible too. No parking, yellow lines everywhere. The radiator behind us was red hot and didn't seem to respond to the valve adjustments we made. I was sweating and my fingers were slipping, more than you'd expect for a February pub gig. I told Guitarist 1 that he'd have EQ issues with his cab in a corner and guess what? No one seemed to know what time we were supposed to start, we had conflicting info from the agent/promoter and the pub and we went on in the end at 19:30. Finished up about 22:10 with a short break. 33 songs in total. That's as many as I've ever played I reckon. The punters were annoyingly all over us and wanted a go on the drums, guitar, they wanted selfies with the band, they thought it ridiculous that we don't do random requests. And of course they all stood in our way when we were packing up and unloading to the cars. It was like a greatest hits of pub gig niggles rolled into one! There were some tyre-kicking wedding enquiries that might or might not lead to decent function money but who knows? One bloke told me that my bass was the nicest Warwick he'd ever seen. Second time that's happened in the last 6 months. If you know, you know 😉. I kept my cool, did my job and went home only to find the road for last 3 miles of it was closed and I had to make a 9 mile diversion up the M5 to get home. Considering everything, I think we did well. If you can deliver the goods under those conditions, you're doing alright.16 points
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A new venue for us last night, Ruskins Bar in Kendal. A nice music bar in the heart of town, eerily quite at 9pm, but we waited until 9.30pm to start and the place filled up nicely, with lots of people dancing by the end. We used the house PA, which apparently isn't considered to be all that great, but we made it work pretty well for us. They want us back later in the year, and the fee will go up too! I really could have used the 3x10 last night, but I was travelling with the drummer and compromised because of space in the car. It was nice to meet Ian ( @Pirellithecat ) who travelled an hour down from Ulpha to see us. Cheers! Rob16 points
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Fender Precision Bass Japan model TNB 110 SPL Rare Japan only Fender Precision, Thinline Telebass, semi acoustic. Q Serial so 2002 - 2004 In excellent condition, I have had the bass professionally set up locally with new flat wounds, plays perfectly, no issues Lovely Blue Burst colour, no dings or imperfections, anything in photos are just reflections. Original as came from factory (apart from new strings). Not messed with at all and in fantastic condition. Collection preferred from Lancaster/Morecambe or I may be able to do a meet M6 corridor between Carlisle and Manchester. Will post subject to agreement with any buyer. Thanks15 points -
Last night, played with Nine Lives at the Balaclava in Fraserburgh. Quite an odd night of two halves. First half was pretty busy and we had some dancers up. Second half got a bit quieter, and everyone seemed more reserved, although I did note some head nodding and singing along. So we got finished, and then, to my surprise given the relative tumbleweed which was the second half, got 4 different folk say to me how much they enjoyed the gig, we were amazing etc. One fellow bass player too praising my performance - always nice to have one's ego fluffed a little! Gear was Ibanez ATK200 then G&L L-1000 into the usual cubular black and yellow trouser flappers.15 points
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Played the Sterling Castle in Bridlington on Saturday. A good gig overall with our new drummer- second gig and hes match fit! the sound guy James was superb, great not to lug any pa in to the venue as RCF stuff already set up. IEMs working great. Such a small stage but its amazing how much room you have with no bass amp taking up the space!14 points
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If you like your Jazz basses with proper vintage tone but a boutique feel, this walnut and elm build delivers in spades. Nitro finished, loaded with Fender Pure Vintage ’66 pickups and quality hardware throughout, it looks stunning and sounds even better. Weight: 9.8lbs Specs Walnut top with elm body Roasted maple neck Rosewood fingerboard Nitrocellulose finish Fender Pure Vintage ’66 Jazz Bass pickups Bloodstone Guitarworks loom Hipshot bridge Guyker tuners Schaller strap lock buttons Fresh D’Addario EXL strings Supplied with gig bag The walnut/elm combination gives it a warm, resonant character with strong sustain. The Pure Vintage ’66 pickups deliver classic Jazz tones — punchy neck warmth, articulate bridge bite, and that unmistakable mid growl when blended. The roasted maple neck feels smooth and stable, and the nitro finish will continue to age beautifully over time. There is a small cosmetic touch-in to the finish from a minor knock during assembly, now levelled and stable. Purely cosmetic and only visible on close inspection. Fully set up and ready to gig. £850 ONO. Try before you buy absolutely a must and if you don’t love it as much as I do then not obligation to proceed with purchase. MGCS – Built to be played. Built to last.14 points -
Birthday, plus massive work promotion haul. The Asheville Music Tools stuff are basically Moogerfoogers on crack… and OMG they are phenomenal.14 points
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Back in Edinburgh again at Stramash with SHOUT!. Really busy this time as was the town. Fast becoming our favourite venue/gig. There are acts on all day through to 2.30 in the morning. Our slot is 10 to 12 midnight! Crowd all well oiled and up for fun! Our songs are as old as the hills but I bet most of the crowd have never heard them before...sometimes I think some of the band have never heard them before! Anyway back there in a couple of months. Bass used...Squier Classic Vibe Precision with Fender Flatwound strings through Mark Bass house rig.. Shout! Stramash.mp413 points
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Here we have an all original Kramer, original bridge will be put back on, the Badass was mine Some minor dinks and lacquer bloom near the back panel but overall in great condition OHSC which shows signs of wear Weight is 4.2 Kg's All in good working order with no issues Pickups : 2 original DiMarzio humbucking PAF Preamp : active DBL-1 preamp buffer which means the controls are exactly the same as a passive bass Controls : 2 volumes, 2 tones, 3 positions "mini" switch for the pickups selection and series/parallel "mini" switch for each pickup Tuners : original Schaller any questions please fire away13 points -
Back at The Crew rock bar in Nuneaton. It has a great atmosphere and I love the framed photos, posters and guitars everywhere. It does make for quite a lively sound though. The stage is under a staircase (leading to Queen's Hall) so the sound reflections can be interesting. Using pretty much the same settings as last night, which sounded great, the guitar had a lot more bite and the snare was like a gun shot where I was standing. I couldn't hear myself that well though as I was right on top of my cab. Anyway we were assured by some of our regular followers that although it was louder than usual it sounded great. This is one venue where I could probably do with some ear plugs. (Moby Dick drum solo) The guitarist had bought his strat along again, and this time it sounded great with the extra volume, etc. I used my usual kit - the Stingish bass into GT-6B into Fender Rumble v3 500. It's not really a dancing venue, but it was great to have the whole place singing their heads off to War Pigs!13 points
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Bit of a bitter sweet one for Glam Viva last night at a very nice local private club. We’d played this venue back last November and one of the audience requested we play the same venue for her birthday in February. This was booked, sadly she died over Christmas from a massive stroke. The family asked if we would go ahead with it as a tribute to her memory. We were unsure but it turned into a massive party with lots of happy revellers and even a nice fund raiser for a local animal shelter. The buffet was top notch too which pleased our drummer no end. Thats it for a couple of weeks as next weeks gig has been cancelled through lack of ticket sales….we’ve all agreed we won’t take anymore gigs where the organisers are relying on ticket sales to fund.13 points
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Full house at a relatively local club for us. Shotton Comrades last night, easy load in, great crowd too 👌🏼 Zoom B2 four is working well with my simple two settings - basically it's an uncoloured Vigier tone with compressor only, and identical compressor and chorus for any widdly bits 😆 my Cliff Bordwell fretless just goes straight into the desk.13 points
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I'm not sure if people have seen this before but I revisited this from 5 years ago and HS and his fabulous band put in a great performance and do the song justice. Along with Pino on 'Tear your playhouse down', this is my favourite bassline and I do like an octaver. The bassist gets a great bass octave sound and I believe he's Adam Prendergast - EDIT: From what I've found on this bassist, his board has a Micro POG on it and I wonder if that's what's in use - I've been chasing the right Octave pedal for ages and have a separate thread on that but the EHX was never on my list...mmmm13 points
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Barry Morris posted some excellent pics of Sunday's gig on Facebook 😎13 points
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Well after a series of trades, I picked this up today from a very strange dealership in Manchester, which takes up a whole upstairs factory floor. So it's an Overwater Perception Custom Classic made in 2006. The main differences from the Inspiration/Progress series is that the older basses have the pickups further back towards the bridge & closer together, producing quite the punch in the mids department, not unlike a rampaging horde of angry Stingrays. I particularly liked the Rosewood on Mahogany spec as it reminds me of my first Status bass which I bought in 1990. After putting on some new Elixirs and adjusting the truss rod, the only issue is that despite the string height being just about perfect from frets 1-7, the huge brass blocks on the bridge don't allow the strings to go low enough between frets 12 & 24. I'll call Overwater tomorrow and see if they have any smaller string blocks for these old bridges, and visit my tech to see if the string grooves on the E & B blocks can be widened/deepened.12 points
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Sunday afternoon gigs are the best aren’t they? And how about one that ends with a standing ovation - aye I’ll have some of that thank you. Here’s a little clip of the last two minutes of our encore yesterday at Shotton Comrades club. Makes the back pain on a Monday from humping gear worth it 😎 39c2fca7-3412-4b54-be44-3234f5ad7aac.mov12 points
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Some of you may recall that I bought a 1973 Rick 4000-to-4001 conversion from Gunnar of this parish (aka @Studio GC) a few years back. It was cool AF, mojo'd to heck (with Crue carved crudely into the top) and seriously modded. I ended up selling it on eBay to an enthusiast who wanted to convert it back to a 4000. Well, it eventually came up for sale in 2026 and I have snaffled it back. The seller did a superb restoration job on it (only missing the original wavy Grover tuners). The work he did included: adding new old stock pickguard, original pots and pickup, Hipshot USA machineheads, filling in and making good the extensive additional routing under the pickguard, and repairing the paintwork to remove Crue and to cover the newly fixed area under the pickguard.12 points
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Well, it’s here… came home this lunch time and discovered that they’d delivered it early - fortunately they’d stashed it behind our bins - not taken it back to the depot. Phew. I have to say that I love it. It looks and sounds great and, of course, the feel of the neck is wonderful. It’s the all-paulownia version but none the worse for that. The sound is in just the Jazz territory that I like with bounce and spring in all the right frequency ranges. Lovely. I’ll be using it at church tomorrow evening and then again at the Weekly Monday Jam on Monday so I will report back on the sound… but I do not expect to be disappointed. Oh yeah… and the number you all want to know… 2.8kg / 6.2lbs which is daft but it still feels great on a suede backed leather strap. No neck dive discernible at all. Love it so far!12 points
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Thursday night at The Fox Town Annex in Mequon. I thought we were sloppy. It hasn't been announced but I think our drummer dumped us. He's turned down 8 summer bookings. Great drummer and singer but apparently isn't into us. I was really good about chatting at tables with the punters. I had put a few scripts together that worked very well. Good crowd and a lot of dancing. I guess people are easy to please. I'm starting to question the direction of the band. But where could I find another money making band at 72 years old? Daryl12 points
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I’m selling my very nice Sandberg VS in Marley Blue with a Maple fingerboard with factory fitted black dot inlays. I bought this recently from Mark at Classic and Cool (it can still be seen on his website) and it really is a great bass, I’m only selling it as I have just bought another Sandberg, so this one has to go. It can be played in passive mode with a passive tone control or active with a two band eq by simply pushing down the volume control. Being ‘Plecked’ at the factory, it has a very easy and low action without any buzzing. Since the pictures were taken, it has been fitted with a fresh set of D’Addarios. Included is the Sandberg gig bag but if you don’t want that, I can ship it in an old but sturdy rectangular hard case - your choice. Shipping can be arranged at the buyer’s cost and risk - I do have plenty of bubble wrap and a suitable bass cardboard box. Collection in person is of course welcomed.11 points -
Up for sale is my Sonic Blue Fender Precision. I had this up for sale a couple of years ago but withdrew it and made some changes. It's put together using mostly Fender and Gotoh parts. The body is from a 2011 Fender Japan Classic Series 70s Precision that I had stripped and refinished in Sonic Blue nitro with a light relic. It's an alder body according to what I can find online. The refinish work was done by David Wilson. The colour is more pastel in person. The neck is an American Fender 60s neck that I bought on here. It's got a Fender Genuine Replacement stamp on the back of the headstock but I'm unsure which specific neck it is; possibly an AVRI. The pickup is a Classic '58 from The Creamery. The bridge is a Hosco threaded saddle bridge that I've lightly aged to match the aged Gotoh neck plate, strap buttons, and string tree. The machine heads are reverse gear Gotoh Resolites. The thumb rest, and knobs are Fender, the wiring is from KiOgon on here, and the pick guard is a mint green MIJ fit from earlpilanz in eBay. It's obviously got a few intended marks on the body due to the relic finish. The fingerboard has a small dent at the 18th fret but is otherwise in good condition. It's a great player and quite lightweight at 3.9kg. It's a great player as well and the neck is nice and straight. I'll include a Fender gig bag and postage is an option.10 points -
Well - this is interesting. Firstly, 'Custom' was a Netherlands importer brand, I think for a specific retailer - somebody on one of the Facebook MIJ guitars groups found the name but it's slipped my mind, annoyingly. They sourced from a number of different manufacturers including Moridaira, Matsumoku & Chushin - so they probably just bought in whatever their supplier had, rather than contracting to specific manufacturers. Customs turn up in the UK pretty regularly, very often in Scotland, which has led to some speculation a Scottish retailer was bringing excess stock over from the Netherlands - no evidence as yet but no-one would be surprised if it turned out to be the very entrepreneurial Jimmy Grant, who had Glasgow & Edinburgh Grant Music shops, his own range of Grant guitars (with UK distribution) & was also UK importer/distributor for Canadian hand-made Odyssey guitars & basses in the 70s & 80s. As for the bass itself - that's really interesting - and this is why: Had this back in 2011, and I could never pin down what it was. This had a plain, oddly home-made looking neckplate & the body was a not-quite right P shape. Came with no hardware, and I pretty much concluded it was likely European, not MIJ, based on the Eko-esque inlay patterns. I have never seen the same neck before today. I think the finish had been stripped under the rattlecan black & it had no hardware or electronics to help ID it - but seeing @Shabbs's pics I'm confident it's the same bass. No logo on mine, the head having been stripped & re-finished, probably with Ronseal! I'll speculate & say this might have come from an organisation called Matsumoto Gakki Seizou Kumiai, the Matsumoto City instrument manufacturers' co-operative. They bought in bodies, necks, electronics & parts from various small manufacturers & assembled instruments from an order-book system, where a customer would choose necks, bodies & parts, and instruments would be built up & branded to their specifications.10 points
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50 years old10 points
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Right then @Machines, I've compiled the results, and it's a majority 8-2 ruling for... NOT GUILTY In my closing notes I will say that you had a close brush with failure and you would be well advised to steer clear of guitar shops going forward, but the court will not go as far as issuing a restraining order. Be good. Case closed.10 points
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Thankfully here's no such thing as failure below T2 for other musical stuff. Otherwise things would be evennmore pedantic than they are. I therefore propse for next year: T3 - other hobbies, T4 - technical crap that looked interesting at the time T5 - clothing other than replacement underwear, T6 - toiletries, T7 - food other than home cooked, T8 - food.9 points
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Well this is nice, I get to report a new bass acquisition without fear of Tier 1 infraction. This Sandberg California TT4 SuperLight arrived today and is LOVELY!!! Great active Jazz sound and only weights 2.8kg / 6.2lbs too. I ordered it back at the end of August so I understand that means it’s not in scope for this year’s challenge. Yay!!!9 points
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Bitsa precision bass with jazz neck. £320 posted. Body: unknown, but neck pocket has Fender dimensions. Pickups: unknown, but sound great! More vintage than modern. Neck: Mighty Mite J-Bass neck, 38mm nut, very nice to play. https://mightymite.com/products/j-bass-neck-with-maple-fingerboard Tuners: Hipshot Licensed Ultralites Weight: 3.8kg (8lb 6oz). Photos show flatwounds but bass will come with roundwounds. Really great bass as is, but also happy to part out if I have buyers lined up for all parts: Loaded body: £80 Neck: £165 Tuners: £60 + postage at cost.9 points -
One in, one out. We all know the score. A cracking bass, made in 2023 and as good as the day it was made. 35" scale so the low B is nice and tight (firm?) and with a zero fret. Three band Glockenklang eq with push pull on the master volume to bypass to passive (passive treble cut on treble knob) Sandberg Musicman style hum bucker in Stingray position, so it's a pretty good alternative to a Stingray 5 that won't break the bank or bugger your back. In it's original Sandberg gig bag. Completely unmolested or modified from factory spec. Weight is 8lb 10 Oz, nicely balanced! I honestly can't find a mark on it, a little polishing of the back of the neck from play but no dings, gouges or scratches I can find. I'm in Leicestershire so not too far from most places, will consider a meet up or happy for you to collect. Not really happy to post as it's not in a hard case.8 points -
In an idle moment I clicked onto the Jet website, and aside from the JJB range having more colour options, they have a 5-string P bass in Charcoal and a 5-string 'deep blue' Jazz bass. https://jetguitars.com/guitars/bass-guitar/8 points
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Lakland Skyline Decade Don’t see many of these come up. I’d say condition is 9.5, it’s picked up a hairline scratch but will try to polish it out, have taken pictures of any blemishes I could find. I believe the electronics are the same as the USA made ones. Chi-Sonic pickups. Passive with VVT controls. Very open to trading up particularly: - American P Basses or G&L SB-2 (bonus if Fretless) - Shortscale things especially a Wilcock I’ve never posted a bass, and if I can help it would rather not learn how to now. Based in London.8 points -
The gas monster has been satisfied. For more info and gushing see: https://www.talkbass.com/threads/show-me-your-compact-pedalboard-setup.891222/page-563#post-29490999 But in short I’ve finally found what I’ve been searching for, I’ll still be using the Anagram for most things but there is a core setup I’ve been chasing that I’d use in the studio or on a gig where there was a competent soundman and provided IEMs. This board is that, aspirational in terms of the gigs it would be used on but perfect tonally and something that if I only use at home I’ll be fine with. One of the issues with digital is I feel you still need a good analog (pun intended) to make sure you’re not drifting to close to crap, an issue that’s easily possible when you have a unit that can do anything. Maybe I’ll capture what I’ve got going on here, maybe I’ll add in the Camden and capture all that, but one rig is plug and play and the other is plug and play after about 5 hours of programming and comparisons. Anyway enjoy the board with 3 xlr’s and 1 effect 🙃8 points
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Welcome to the thread, and well done for spotting that it is about encouraging us to improve musical skills. I was impressed at how quickly you went from buying "a keyboard stand this year so I can learn to use the keyboard I bought years ago" to "new digital piano, synth and guitar incoming!" - both posts are timestamped "8 hours ago" on my system! It is always good to see that sort of reckless abandon from new players, because it distracts Chief Referee @neepheid from any infractions that I and others might be about to commit.... Keep it up, @brickers!8 points
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Lovely short scale bass, strung with new La Bellas. No marks or issues,never gigged. Can courier. Ebony fretboard. Dots removable. Gigbag. Weighs 7lb 13oz exactly. Better pics to follow.8 points -
Me from our BLOCKBUSTARZ gig at The Ferry in Glasgow on Saturday night. First time there and depping for a friends band who had to cancel so a lack of advertising for us but it was a great night. Dave7 points
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A couple from me. April 2025: Playing my Fender Japan 60's Precision with Andrew Maxwell Morris at The Bedford in Balham as a pre Glastonbury warm up gig. April 2025: Playing my fretless Fender Japan 62RI Jazz with the Tim Shez band 2025. Playing John Giblin's fretless Precision.7 points
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https://www.aurokcomposites.com/ I'd be grateful for a fresh set of eyes, so if any of you would like to pick holes in it over the weekend, feel more than welcome. It's taken 3 months for me to put the site together after some intense reflection on what to offer and how to offer it. I find it easy to lose track of small details like wording consistency, or a lack of clarity on specification after my nose has been up against the glass for so long. Basically I've standardised products based on what we've been asked for in the four batches made so far. For example, no demand for wooden fingerboards (which surprised me as I really like how they tame fret noise) and no block inlays, so we aren't going to offer them as part of the standard spec. Also, because we're low volume, I can tend to each order personally so no need for a complicated ordering system...yet. (I'll have to look at scaling production capacity and embedding QC before that becomes feasible.) On Sunday evening, I'll email an update to subscribers and post on Facebook. Cheers!7 points
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We’ve all heard and possibly all said this before: this is the one that I never thought that I would sell. The short version (explained in more detail below) is that there are a choice of two basses with the same neck for you to choose from: Bass Version #1 This bass was built to be something special and came about after watching Guy Pratt’s Lockdown Licks YouTube videos and that was where I got the inspiration for this. The specs of this one are: · Warmoth chambered Dinky Jazz swamp ash body with mahogany top · Matt Taos Turquoise finish · EMG J Pickups · EMG BTS System 2 band EQ · 18v via a separate factory routed double battery box · Fender high mass bridge (Currently has a Gotoh 203 bridge fitted) · Gotoh EP-B3 oversized strap buttons The matt finish on this doesn’t seem to be as tough as Warmoth’s gloss finish and I have taken pictures of the little chips that have occurred in the normal use of the bass. The chips are on the edge so you don’t really notice them. The matt finish does look really cool though. There are a few other marks here and there on the bass that I have tried to photograph. Bass Verson #2 Since losing weight, no bass seems to sit right on me any more due to having lost the overhang. There’s nothing wrong with any of my basses but after being overweight my whole life I’m finding it tough getting used to how my basses sit now. As a result, I decided to get another body made by Warmoth that would allow the bass to sit at a 45 degree angle when on a strap. The specs of this one are: · Full fat solid maple Jazz Bass body with truss rod trench omitted (custom option) · Black holo flake finish · EMG JX Pickups · EMG BQC System 3 band EQ · 18v via a separate factory routed double battery box · Fender high mass bridge · Schaller S Locks This was only made for me last year and used on a handful of gigs so is pretty much in as new condition. What will be common to both basses is the Status Graphite neck that I had made in 2021. Unknown to me at the time, it would be one of the last that Rob Green would make. I am so grateful that I had the opportunity to try out one of his necks. It’s every bit as good as I thought it would be. It’s a Jazz neck, no fretboard markers and routed especially for the Hipshot Ultralite tuners that are fitted (including Xtender on the E string). Annoyingly, I have spotted a small scratch above the A string tuner. It doesn’t look to be deep and should polish out but I don’t trust myself to do something like this. The Options: Your choice of: · Body. · Pickups. · EQ. I will put this together for you in whatever combination you want. The weight, before someone asks, may be the decider for some people and was done using the “standing on the scales first with the bass with and then without “ method. · Chambered Taos Turquoise Dinky Jazz = 7.8lbs · Solid maple black holo flake bass = 12.2lbs The Dinky Jazz was weighed using the Fender Player Series fretless jazz bass neck that I currently have fitted to it. I don’t like to change necks any more than I have to so I don’t want to put the Status neck on the blue bass only to have to put it back onto the black bass in case it creates wear in the neck screw holes. This neck also has Hiphot Ultralites fitted. I’ve gigged this with both bodies and they both sound incredible. The main difference being that the standard EMGs give you that clear, clean EMG jazz bass tone whereas I found that the JX pickups behaved more like a halfway house between the standard EMG J and a regular passive jazz pickup. For those of you concerned about the weight ( which is probably most of you 🤔😂 ) I found the extra weight of the black bass to be worth it and used it on 4 hour wedding gigs with no issues. Before anyone asks I turned 50 last year but I train 3 times a week so the weight wasn’t an issue with a decent neoprene strap. The reason that I am selling is that my tastes have changed over the years – as a massive Chilis fan I’ve played a lot of Stingrays and Sterlings. In the past 5 or 6 years I’ve changed to Jazz basses but now I find myself gravitating towards the P bass I’ve also included some other pics with the Graphite neck attached to the Blue Jazz As far as shipping goes – most of you aren’t going to be close enough to collect or meet up but I have a Fender hard case that I only bought a few months ago ( I still have the shipping box for it for extra protection ) so I have factored including this into the price. I am happy to provide the dimensions and overall weight for the buyer to arrange the collection. I am going to start this at £2,000 and see how it goes. I am always open to reasonable offers of what you think it is worth. Finally, before anyone asks – no I won’t be selling the Status neck on it’s own. I am trying to scale down the number of basses I own. I don’t have an excessive amount, around 6 at the moment, so am not really looking for trades at present.7 points -
Then maybe a nice pre and a pickup, have it refinished and...7 points
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Right… update time. Ziricote / sapele body now oil-sanded to 2500 grit and I may have accidentally summoned a small woodland spirit. The ziricote has gone full “brooding Victorian villain”, dark and dramatic, while the sapele is glowing like it’s just been told it’s the favourite child. The carve is doing that hologram thing where it moves every time you tilt it. I’ve spent an unreasonable amount of time just rotating it under the light whispering “oof”. Edges are basically glass now. If this gets any smoother it’ll need a warning label. No stain, no funny business – just oil, patience, and far too much staring at it. Hard wax oil going on next to lock it in and give it that silky satin feel without killing the depth. If this one doesn’t sound good, at least it can sit in the corner looking expensive and judging everyone. MGCS – Made to Play, Built to Last.7 points
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My 'band' consists of a drummer and me. I swing between bass and guitar, but tonight was guitar. I have no pride and no skill. As a laugh we decided to do one of my original songs as if sung by Lemmy in Motorhead. I was using a Laney LC15R valve amp with a Strat, brought from this very parish from @kwmlondon. As Kim lives London and I live North Yorkshire, I only managed to pick it up at Xmas and due to other commitments, tonight was the first time it got used in anger. Bloody hell, for 15W it's loud, it's very loud. Its my first and only valve amp and I still don't understand why a tiny 15W valve amp should be so, so loud. Not just loud, it sounded really good as well. We wound the gain up, wound the volume, I did my best to channel Lemmy and play and sing at the same time whilst Bev the drummer was laughing so hard, she couldn't play. We did a second even faster run where we tried to combine The Ramones and Motorhead and it was a wonderful joyous experience. It's been a utterly sh1tty week at work with issue after issue and escalation after escalation, so putting it all behind me for 90 mins of manic singing (badly) and playing at stupid volumes was great therapy. Now I can't speak as my voice has gone and I still have lines in my fingers from playing so fast and hard, but it was worth it. We've decided we're going to do it at the rather staid open mic sessions in either Settle or Sedbergh. I suspect they'll kick us out but it will be fun. Rob7 points
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Good on you sir! Enjoy! Got my pro 2e back from Paul about a month ago, it had been de fretted but i wanted put back to original. He’s da man alrighty! and a thoroughly nice one at that! X😊7 points
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