Gareth Hughes

I completely agree. I think it’s an oversight on their, or any builders, behalf.

Great points. I’m kicking myself that the €50 cost for the rods I didn’t pick is now a repair cost many times that. The upside is that I’ll know for again. The option of thicker neck/no rods and thinner neck/with rods would be very helpful for potential buyers who aren’t well versed in construction limitations/practicalities.

The old SWR RedHead combo - think that was it's name. And the SWR Black Beauty.

Hey - you're not alone! The truss rod on my Maruszczyk 6 string snapped about 6 weeks ago. Bass is a few months shy of 4 years old. I bought direct from Maruszczyk but I didn't get in touch to see if they could do anything simply because it was a 3 and half year old bass and I did it - not much room to argue with that. The luthier I've taken it to was surprised there was only one truss rod for a 6 string, and that it didn't have carbon stiffening rods. I spec'd the bass, so again that would be my fault, not theirs. He was also of the opinion that most steel used in truss rods is fairly poor these days. IMHO I do think there shouldn't be an option NOT to have strengthening rods when you order a 5 or 6 string bass from them, or any builder. So given the tension on the neck, and the lack of strengthening, and my thinking "I've done all my own set ups for 20 something years so I'll be grand" - led to me continually tightening and not thinking I was doing any harm. In fairness, I reckon I turned it a fair bit more than you've done though. On a side note - here's a similar one: the tightening screw on the end pin of my double bass was stuck once. I kept working at it until I finally felt it give and thought 'yes, loosened it'. And then snapped right off. I'm not a strong guy by any stretch, some metal just isn't as strong as I think it is!

If you can, please do tell. I’ve been pleasantly surprised with the few Farida basses I’ve played.

I have a Japanese reissue, probably early 2000’s, that I do most recording with, despite having better quality/more expensive instruments. Something about it just fits really well in recordings, better than a P-bass in most instances. Live, however, it doesn’t keep up with a P or a J, IMO. I got turned onto them for recording by repeatedly being asked to use a 70s one in a studio. It was the studio owner’s, and despite it having decades old strings of different brands that had visible and tactile dings, and a neck afflicted with severe leprosy, it had a tone to die for. I’ll find a photo if I can stomach looking for it - it really was that bad.

Love it. Always worth a watch. Not the same, but this is worth watching too, IMHO. https://www.youtube.com/watch?v=vc7-aIzFSg8

Nice one Phil, I watched that late last night. Bass geeks and old mates catching up - a great combo. Thanks for sharing.

For the higher strings - take riffs you know and stick them up an octave. Try that in normal 4-string territory, then move that onto the higher strings. For example - Livin On A Prayer - open E starting note becomes 7th fret, A string. Work out riff there. Then move it to start on to D string, 2nd fret. That will have you playing the whole riff now from D string to C string. Saying note names for every note will help solidify things. Chords are also a good starting point - simple 10ths, so E on 7th fret A string, add the 10th/G# on the 8th fret, C string.

I had the exact one - bought in a fit of Pearl Jam inspiration - probably around the same time. Had the same colour too. A little while later I wanted a Jazz pickup in it and, being a cocky 20 year old, decided to do it myself and made a complete balls of it. Still, a fine bass for what it was.

I have a set of regular 34” scale GHS string on, think they’re 40-100, and they feel and sound fine. Maybe try an old set, the tension might be just fine.

Probably late to the party - I have a 5 string Maruszczyk fretless with a 48mm nut. I have small hands but chose this as my Fender 5 has the same. It does feel wider/bigger than the Fender - I’m not sure why, but it’s not a bad thing. If you haven’t already ordered, you can specify something different if you want in the comments or an email to Adrian.

I was enjoying that - genuinely - until one of them said - the 5 string neck was modelled after Marcus’s main bass, goes on to describe it (black scratch plate, etc), and he’s known for playing a five string. Hard to listen to anything after that

To add to what Frank has said - also get to know some of the other bands in the venues you want to play in. You'd be surprised how often 'things come up' and a venue is left stuck without a band at the last minute. That's when frantic calls are made and dashing heroes step into the breach. The scenario of singer/band A has to cancel at last minute and then calls singer/band B through to Z until someone is available happens more than you'd think. Being super flexible helps here. It also happens this way as an individual musician - the same calls get made looking drummers, bassists, etc. Your singer might have to cancel at the last minute, so rather than replace the whole band you just replace the singer and wing it. Again, this happens a lot and you just go with it. And when this does happen, and presuming you do a good job, you'll find bar managers a little more receptive to taking your number. A little. Ish.

A righteous pedal. Love that it can go from old school Andy Fraser/early Gene Simmons to Darkglass territory. The ‘Agro’ name can be misleading - it can be quite subdued. Plus, hugely responsive to playing dynamics makes it just a fun pedal to play with.

I have the SBC and JSBC sets in two Maruszczyk basses. Compared to stock pickups on a Japanese Fender Precision, they are noticeably quieter. Compared to a Nordstrand set in a US Fender Jazz, they’re about the same.

I got one a few months ago - I think it’s a game changer. For me, there’s a gig feng-shui to it - 3 sounds (off - using your amp controls, then both channels of the pedal) and then the tuner. And the size!!! It’s just perfect. Also, going through the presets in the manual - it’s a really versatile pedal. As much as Maiden are in my DNA since I was 10 in 1987, the Steve Harris tone isn’t going to work for everything. That’ll be when you want the Lemmy setting.

My tuppence re: digital vs analog is that until my understanding of patches and menus, etc gets a serious upgrade, then I've no choice but to stick with analog. And I totally accept that I am the weak link in this chain. I'd actually love to get into the digital side of things, but sadly my Luddite brain can't get there yet. Even the Tech21 Programmable BDDI fried my brain when the lights started flashing because the actual knob position didn't reflect where the pot position had been saved. Think I still have some sort of PTSD with that.

Love it. I had a 1978 one, in black. Loved the feel of to play, plucking wise, but I don’t get on with painted/glossy necks so I had to let it go. Still, it remains the one that got away and I still wish I had it. Enjoy!!

Another idea - assuming you hold the pick in the ‘normal’ way of pointy bit towards the string. Keep with the lighter pick but rotate it around so the rounded edge is striking the string. I used to use he big triangular Dunlop picks before using regular ones. The thinner pick felt and sounded weird to me. Playing with the stubby end gives me a more solid sound than the pointed edge.

Nice one. Liked that a lot. Less subtle chorus sounds awesome on bass, I think. Gets into a pseudo-Rhodes trip.

Nice one. I'm at #108 in the print version, which correlates to #26.3 in the pdf. The pdf has extra stuff in it, like all the preparatory exercises, and has everything grouped clearly by key. The book groups them by key too, but it isn't obvious at a glance. Thanks for sharing.