randymussel

Sadly Lulls, Roscoes and Dingwalls are mostly a bit above my means (and frankly, too good an instrument for my ability!) although I was tempted by the Combustion in the for sale section. The extended scale length seems like it should do the trick and perhaps it does in those cases, but not on the SR fan fret I tried. Its not been about getting used to the extra string either - I have owned and played low B strings quite happily. I also appreciate the flexibility it offers besides simply the lower notes, but to move around the neck too. The problem is the lower tension on the string and the way the notes sound as a result. I really [i]wanted[/i] to like one! I just didn't find the right one. Yet.

TL;DR: All B strings are too floppy for me, I've bought a Ray34. Please excuse the long-ish story but I've had something of a bass epiphany (epiphone?). I've been playing for years, almost exclusively passive instruments but often been prone to GAS particularly for 5-stringers and something modern-sounding (I'm a Jazz player mainly). I'd previously owned Cort, Crafter and Yamaha 5-stringers but either never fell in love with them, or needed to free up cash or space so none of them stuck. However after receiving a nice bonus from work I had a little wedge burning a hole in my pocket, and intended to get the "right" 5-string for me. So, I took a rare trip away from the kids down to Andertons fully intending to try out their stock of 5-string basses, choose my favourite and bring home a new baby. So I tried all the "suitable" basses (both price range and to my eye) I could lay my hands on (Ibanez SRs - 505, 805, 805 Fan Fret, Fender Dimension Deluxe 5). Sadly a few I would have liked to try (Lakland, MM) weren't stocked, and I came home somewhat disappointed, my pocket none the lighter. The reason? Floppy Bs. I somewhat expected it on the standard SRs. I'd already tried one of their Premium 5ers, a lovely bass in every way, well built and sounded great, but the B was just too flexible and pliant for me. I was more surprised by the B on the Fan Fret - surely the point was to improve tension and tone on the B? To no avail, at least in my (admittedly not very expert) opinion, as it was just as floppy as the cheaper models. The Fender Dimension was the nicest, which was a little surprising given the mixed reputation Fender 5-stringers have, but then again not because it was the most expensive bass in the room. So after this disheartening trip I decided to just stick with the 4, and go for something I knew I'd be excited by. Looked on ebay that very night and snapped up a Ray 34 in tobacco burst for a bargain price, which arrives this week. Every cloud... Now I am not denouncing 5-or-more-string basses in general - loads of people on here obviously play them and make them sound great every day, and my technique is, to be polite, a bit heavy, so if a string has any flexibility in it I will find it. But I can't be the only one who's had this experience, can I? So has anyone else had a similar experience with the 5th string, and what did you do?

If you've only got a small board, why not use a clip-on headstock tuner? You can get two for the price of a TU3, and you've got more space on your board. The volume control on your bass acts as a tuner mute if that's part of the attraction for you.

So I find myself in Paris for work, but with a few hours to kill before my return Eurostar tomorrow. Is there anything bass-related anyone would recommend - shops not to miss, in particular? Not here in the evening so unfortunately no gigs. And before anyone mentions them, I'm well aware of the Eiffel Tower, Louvre and Arc de Triomphe and may yet visit one or other of those as well! Thanks for any suggestions.

Thanks for sending the scratchplate so quickly - 1 day delivery! Andy

Totally agree with the OP; it is much easier to devote yourself wholly to the music, the sound and the entire experience when you've got more invested than just playing the right notes at the right time. Speaking as someone who has played a lot of music in a church context as well as originals bands, covers bands and show bands, the goal of the music may be the same but the motivation for it is different. Whereas in a 'traditional' music environment my aims have been to play well, get people dancing, impress the audience, create an atmosphere, play proficiently etc., in church it is all those things plus expressing something deeply personal and spiritual which lends a different feel to the whole experience, and means you are 'in' the music, as well as sharing a feeling with the audience/congregation, much more often than in other environments (in my experience only of course, and not suggesting it can't happen in other places).

Just superb. The definition of Groove.

Sold a bass to Guven, who managed to convince me to ship it to Cyprus, which was not as bad as all that after all! Good fellow to deal with, thanks.

Really useful videos and honestly there was no standout winner for me - I own a Japanese jazz so was rooting for that one but the others each had their own character that worked better in some styles. One complaint though - I almost never want to use my Jazz with the tone control all the way off. Especially for slap, it takes all the zing right out. I can understand rolling it back a little when slapping or picking. If you want a sub/dub-type sound then maybe, but you're probably not using a Jazz for that anyway, are you?

Bought a pedal, received it quickly, well packed, all working as described, thank you!

Gone

I've got a thin bag suitable for carrying, but not cushioning, standard shape bass guitars (tried it with p/j shapes and modern ibanez type shapes). Free to pick up from Bracknell, or Wisley/Woking during the week, or I can post if you'll cover the cost. Please pm me for pics if you are interested.

Just bought Ben's BB415. Lovely bass. Can't imagine why he got rid. Never mind, I am happy! Perfectly smooth deal with nothing to worry about, many thanks.

Another positive report - LPB1 delivered as promised, thank you!

I own a G3 for use with the guitar and while I'm sure the B3 can do a job if you already have your own amp and 'sound', I find the biggest asset of the G3 is the amp simulations. In my opinion these do more to bring out brightness and edge in the guitar tone than the eqs. Funny as I am thinking of doing this the other way round, i.e. using a bass through my G3.

Just bought a bass from Vince, deal all done in a couple of days. A good and easy deal, thanks.

Just bought a CS3 from Dave via the marketplace, delivered quickly (in a tea bag box). Much appreciated, thanks.