neepheid

I did say "under the bridge" - so what you're saying was implied and I didn't really feel the need to explain how that is achieved. The OP spoke of reassembling the bass, so I presume that they're able to loosen some strings then take off a bridge...

To be honest, the gap between a Supertone bridge and the edge of the pickguard, it would be hardly noticeable...

Well, there's the old Fender trick of a ribbon of copper foil going from under the bridge to (in the Ripper's case) the underside of the pickguard? Yes, it's visible, but it's electrically sound, reversible, and easily achieved...

I'm up for a zombie thread resurrection when it comes to lauding Yamaha basses! Currently have a BB1200 and an SB500S. Both fantastic instruments, the BB1200 is simply consummate. It isn't flashy, it isn't particuarly exciting to look at, but in terms of playing feel and sound it just gets on with the job of delivering excellent results in both departments. The SB500S is a quirky number which I enjoy because of that - the somewhat wonky body shape is what chiefly appeals, and despite being a J bass in disguise, there's a bit more going on in these pickups than a standard J, couldn't tell you why, must be the way they wind 'em. Historically I've had a BB300, BB350F, BB450, BB614, BB434. Honestly, if I could have any of those back again, it would be either the BB300 or 450. I don't really like where the most recent BBs have gone - they've done something to the body shape that makes it seem less "broad" to me, streamlined it. Didn't keep the 434 long, didn't appeal to me as much in the sense that it seems to have had much of the quirkiness tamed out of it. It seemed like a slightly different shaped, generic PJ bass to me. And if I could have any Yamaha which I don't already have, it'd probably be a BB1200S, just as a counterpoint to my 1200.

They're not the same - the Grover Titan uses two locating/mounting screws. Those are Schaller M4S (or copies thereof), and they use locating pins built into the baseplate on the underside which are not visible from the front. Hey, you said "exact"...

From top to bottom - would, had

The Inevitable Teaspoons, Wednesday 11th February 2026, our own rehearsal room in rural NE Scotland. I don't generally have breakfast, sorry and Wednesday was no exception. A wee photo of my work area, even though I wasn't doing any actual recording on Wednesday - we like to warm up by playing a few songs before recording anything. More work on our next album, working on a track called "Lovely Night Out In The Country" Recording using a Zoom R24 and an AKG dynamic mic of some sort (because we're so professional and taking it so seriously). Got the drums, keys and bass down already, in this session got sax, trombone, lead vox and two lots of backing vox down. Despite some hijinks (the apogee of which was the keyboard player pinging a rubber band at the sax player as I was away to hit record for the trombone player recording some BVs), I think we got through a decent amount of stuff. Just got harmonica and any other incidental stuff we feel like to do, then that's another track in the bank.

Deets! What is it? Pics plz. Also...

Here's a picture of the official tool No, I never had one, I fashioned something out of part of a binder clip, as explained in this TB thread: https://www.talkbass.com/threads/yamaha-bb-series-tuner-adjustment-tool-i-just-made-one-that-works.1440391/

You'll need to tighten up the collar which is between the button and the body of the tuner - the bit with the two small holes in it. The bass would originally have come with a specific tool for that, but if you don't have it then you can fashion something with part of a bulldog clip. On the phone right now but I will get on the computer shortly and find exactly what I'm talking about, pictures etc.

Are they these guys?

I have done it twice, once from Ishibashi - which was an excellent experience, prompt sending, well packaged, nice sturdy outer box which had no "speed holes" in it on arrival, and prompt communication throughout. Great pics on the website, what you see is what you get. I was delighted with the overall experience and will definitely use them again next time they have something I fancy. The other time was from a private seller on Reverb. Again, can't fault the experience - I appreciate that one transaction from one random person doesn't mean much on a statistical level, but I found a good 'un - great comms, packaged the bass well, and even put some keepsakes/nicknacks in with the bass which was cute and made me smile. So, that's two from two. But deffo, bigging up the Ishibashi here. I would be wary of these "personal shopper" types on ebay - you sometimes see the same bass with the same pics being listed for varying prices. I believe that is people speculatively listing stuff up they've seen in shops (I've seen Ishibashi's pics being nicked sometimes) and they're basically a go-between, and will list it for what the shop's selling it at plus whatever they reckon their expenses are. But if they've got great feedback, then I guess it's fine? I dunno, I think it's the fact that the same bass with the same pictures being listed multiple times by different ebay accounts that's putting me off, just feels a bit sus.

Oh I know, what's done is done, just pointing out that it's a bit rum that the pressure to do this was external.

All I can say is that if the sound guys at church were so damn keen on everyone using IEMs, they should have provided the necessary equipment. Making it all work is their problem, no?

I didn't know it was called that, but it's definitely called that from now on, lol

Last night I was back in covers band action with Nine Lives at Wilsons in Aberdeen. Night got off to an odd start, when some people noticed me and the drummer getting stuff out of the car and asked "who's playing tonight". I replied "Nine Lives" and they replied "Excellent!" Had a joke with the bouncer that they must have us mixed up with another band. Anyway, the gig went well - it was a bit of an awkward setup because some people were in the bit where we usually put our stuff, playing darts. How very dare they! So there was a lot of shuffling stuff around while we set up. Still, we got set up and ready to go at the billed time. Gig went pretty well, had some very enthusiastic dancing in the first half. Second half dwindled down a bit towards the end, but we did a thing we've done on and off and played a softer song as the second last one and we had a couple of lovebirds up dancing to that, so it worked. Then blew the place to bits with Whole Lotta Rosie, along with my usual wireless walkabout. Never ceases to amuse and entertain people, and as long as people still get a laugh out of it, I'll keep on doing it, lol. Gear was the Epiphone Les Paul (not so) Standard, followed by the Fazley Hot Rod (the "Ratlet") with a Lace Aluma P in there because it was lying around and I was bored. Usual yellow and black amplification. Footwear was pink suede Vans slipons.

A thirty quid case off eBay? Call it an accessory and be done with it, I reckon. I like to have separate accomodation for all my basses too, I get it.

I'm not a fan of it personally.

Oops, have we just opened the valve on another GAS pipe? This is my gigging amp This is my practice amp This is my recording amp What have we done?

Is recording a separate use case for a bass amp?

Because there's no message being quoted in my previous post, you can rest assured it was not directed at you, but at the thread in general and I guess the OP in particular as the instigator of the thread. I'm at a loose end, filling in time before a gig tonight, my wife's away so I've got the house to myself and honestly, I think I've gone a bit peculiar. To be brutally honest, the whole tone of the OP's initial post (and subsequent same again, but longer post) just got up my nose, and it probably shouldn't have. So, sorry all and @la bam in particular. I clearly have got too much "me" time right at this very moment and I overanalysed things. My bad.

Well, each to their own. Personally I think the whole "too loud for home practice" thing is a false argument - amps have got volume controls. Until I got my Joyo 30W Vibe Cube, I was using my TC Electronic BH250 just fine for home practice - although mostly in headphones because I couldn't be arsed trotting out a cab. The only reason I got the Joyo was because it's more plug and play so I might practice at home a bit more (so far this seems to have borne fruit). I also don't really see why a 200W amp has to justify its existence to one particular person - the market as a whole will decide if it works or not. You buy one, or don't, and that's absolutely fine. There's a whole lot of IMO going on here, and while that's fine and dandy, it just gets argumentative in the end. You don't like/get them - fine, don't buy 'em. There are plenty folk who do. Like I said, I'm going to gig my 250W backup head tonight in a pub gig with no PA support and I'll report back as to how lacking or not it was, how does that sound? Does it even matter? I'm not you after all, I don't play in your venues or in your bands, so maybe I'm just wasting my time.

Depends - quite a few basses come with D'addario XL nickel rounds as stock strings. As these are my strings of choice, I'm ready to hit the ground running. I'm not being lazy, I genuinely like the sound and feel of bog standard D'addarios and I feel very fortunate indeed, because they're relatively cheap, readily available and like I said, often come as standard equipment.

From my NBD post about the Fazley "Hot Rod" bass "Of course, the stock strings are hot garbage, thin, rougher than Rotos and went straight in the bin." "The stock strings weren't giving the truss rod much to do - after I put my beloved D'addario XL nickel rounds on it, the neck was a banana and I had to tighten the truss rod three quarter turns!" TL:DR - they're just awful, chuck 'em in the bin and put on your preferred strings - just be ready to have to tighten that truss rod!

Well damn, have I missed the boat in spectacular fashion - my first order from Thomann was in 2007