neepheid

Mmm, blocks are always welcome. I wouldn't have even considered getting my G&L Tribute LB-100 if it didn't have them. If I'm being super picky my favourite is crown inlays, but blocks are a close second. Enjoy the bass!

My wife used to be a singing teacher so I asked her for some pointers. She suggested https://www.musicnotes.com/ https://www.sheetmusicdirect.com/ When you use the word "scores" it sounds like you mean notes rather than tab, or am I making an incorrect leap there?

I'm on my third JC Sig. I only ever sold them for financial reasons. Currently have the 20th Anniversary JC Sig and I hope I can keep hold of it this time!

Ahh, the never ending search for hidden meaning continues...

Then you'll get a Snickers, and if you complain then I'll eat it and you'll get nothing!

Not me, so I don't watch them, much less start threads about them

I wonder if they were backreferencing the 1968 Gretsch catalogue with that colourful text. Not as close as I thought looking at it again but that's what it initially reminded me of

Duh, Gus basses, synths and providing alternative views. Have you not been paying attention?

Am I the only one looking at this thinking the colours not particularly bold (apart from the shell pink) or particularly bright (apart from the shell pink)? Especially when placed next to the bold, bright text...

Bloody expensive hats, way out of my league.

Yup. Sucks.

I'm a lazy driver too. The only reason I don't go around town at 30 in top is because the car complains that it doesn't like it and displays an annoying arrow "suggesting" to me that I at least pop it back down to 4th. In my previous car (which was larger and had a bit more grunt) I used to glide around at 30 in 6th. It could do it and didn't give me jip for doing it. Also, well jell at the shottie of the 928 - a pinup car from my youth I'd love to have a go of. Your friend is wrong BTW - it's a grand tourer, so tour grandly in it - I don't need to hear it to know its got an engine. 40 in 2nd, what is he, 18?

I'm paranoid enough to think that people look at me and think "knob" whichever bass I take to the gig.

Or we could stop trying to describe bass tones like we're wine tasters and just drink the bloody stuff. My metaphor may have got lost somewhere on the way to the wine bottle.

All Epiphones are made in China these days. The Jack Casady Signature is a very good bass guitar - it was very good when it was made in South Korea and it's still very good now that it's made in China. Tiny sample set (3) but I've owned JC Sigs made in both countries and I found them to be equally good. There's a lot of anecdotal love for the Epiphone Thunderbird Vintage Pro - some prefer it over the USA Gibson Thunderbird, although that might say more about the current state of Gibson USA than the relative goodness of Epiphones... I'm willing to say that not one of us here has the statistical oversight to make blanket statements about any factory or country's output with any validity or integrity. Statisticians of the world, I'm sorry for p!ssing all over your craft. All we can do is evaluate each instrument which comes into our parochial little world on its own merits. Country of origin shouldn't even come into it because we're not qualified to make such statements. The instrument in your hand is either good or bad and can only accurately be discussed in isolation. I'm saying this for general comedic effect - this is not directed at the quoted user or anyone in particular so please don't jump on me. Dear guitar racists - show your working

This class of instrument simply costs more than I'm prepared to spend on a bass. Too much responsibility, too much to lose if something bad happens to it. I had a play of a friend's Ritter a few years back and as lovely as it was (with a finish so deep and lustrous I could have dived into it) I was too scared to breathe on it wrong to be able to enjoy it. Couldn't get it off me and safely back into his hands quick enough. Playing an instument shouldn't be that stressful

RIFF Megastore in Warsaw successfully navigated without gear acquisition. Instead went there with my wife and a mate (both of whom can play piano) and had a jolly good sing song in the digital piano department. Was complimented for my falsetto in Queen's "Somebody to Love". Did buy a spare set of D'addario XL 45-105 (consumables don't count, right?) - at £20 instead of the usual £25-30 back home it seemed rude not to

I own multiple basses (4) and deciding which one to play is in the same category of deciding which shirt to wear. Basses be bassy and they're all ones I like to play, having distilled my dislikes down into a concrete idea of what a bass should be to me. It's got nothing to do with "level" - I don't have to justify to anyone how I spend my disposable income, it's not a competition and I don't have to be a bass god to "deserve" to own multiple basses. They make me happy, and that's all that matters to me. Love, your friendly neighbourhood silly multiple bass owning weekend warrior

You've done well to stay so open minded. Me, I hate Jazz basses, skinny necks, bridge pickups...

You'll figure it out eventually. You've already pinpointed a preference for satin neck finishes. Once you build up a few more positive preferences you'll start to focus in on basses which satisfy those criteria over others. It doesn't have to evolve into an outright dislike/hatred of certain basses either - a few simple preferences will steer you towards what you like over others.

My G&L Tribute LB-100 arrived with a laughable "shielding" job. This only became apparent when I took it to band rehearsal in our RF hellhole. As with ubit, geography playes a factor in how I respond. If it's fixable without too much hassle and I like the bass enough to keep it then I'll probably sigh and get on with doing what the manufacturer ought to have done in the first place. Regarding threshold of severity, it depends upon what it is. Roughly, if it a bad finish issue or anything structural, it's going back. Electronics I can do. A nut tidy up I can do. But it also depends upon the rarity of the instrument (how quickly/easily can I get a replacement), how expensive it is (I'm less likely to be tolerant of issues if I've spent over a grand vs. a few hundred), whether it's new or second hand (second hand I probably have no recourse or chance of a replacement so I just need to find a way to make it work). That got complicated quickly! Some examples: G&L Tribute LB-100 - special preorder so dunno how easily a replacement could be obtained, only cost a few hundred, issue relatively easy fix (apply copper tape) - result: fix it myself Gibson Grabber 3 70s Tribute - probably could get a replacement quickly, cost closer to a thousand than a hunder, structural issue (bottom strap button bashed into the wood to the point of depressing/cutting the fibres) - result: send it back A cheap thing from G4S that looked interesting - probably could get a replacement quickly, cost around £100, serious structural issue (fingerboard coming away from the neck), confidence shot by the experience - result: send it back Also, see phase of moon.

I appreciate that you took my post in the spirit it was intended - setting the record straight for the improvement of accuracy, rather than taking it as a personal put down or rabid fanboi "defence of the realm" type stuff. This is how it should be.

According to this I dug up (I can't confirm its origin, but it's written as if it was written to represent Spector) - use of the Spector "solid brass locking bridge design" as they describe it didn't start until 1984. https://2cw1d79cq4b2tsxk239w4ix1-wpengine.netdna-ssl.com/wp-content/uploads/2019/08/NS_BodyHistory.pdf Edit: it's offical, it's linked at the end of https://www.spectorbass.com/History/ G&L been using their Saddle-Lock bass bridge since the first L-1000 came out also in 1980. So whoever was first it must down to weeks or months difference. Anyway, clearly both exist and co-exist quite happily without the pair of them suing each other (unlike Spector vs. Warwick re: NS body shape), but G&L sure do like to bang on about how revolutionary their Saddle-Lock bridge is (https://glguitars.com/saddle-lock-bridge/) so I thought I'd do some digging.

What does the push/push do?

That screams Lace Helix bass to me Or am I missing something here?