bassbloke

Plenty of responses to my original post, so here's my take. We've played with them before and they're local and the bassist is a good sort. I handed him bass with my strap fitted, with straplocks. He was reasonably gentle with it, not that he had much choice; i play with a pretty low action. Actually, I think possibly learnt something, which is play more gently and let the amp and PA do the work. More dynamics and it just sounds better. We also got lots of thanks from the stage, a good turn out and credit for being decent chaps. If he'd been a bit of a pink torpedo I wouldn't have helped him

Heavy pick player and, to be fair, they hadn't been changed in a while.

Last Saturday's gig, bassist in opening band broke 2 strings 😮 Plea went out for assistance and as my bass was already onstage tucked away in a gig bag and tuned down a step fished it out for him. Totally changed their sound (passive ash jazz with overwound pickups vs active yamaha) and was clearly setup very differently, but it was an interesting experience. I guess he was lucky it was our first gig in a while and I didn't fancy using the fretless.

I've done plenty of gigs where due to the ridiculous number of bands booked and the tardiness and lack of professionalism of other bands has meant insufficient soundcheck times. In those circumstances, sometimes the most professional thing to do is offer to just do a quick line check before playing. Guarantee you'll gain a new ally in the soundman and he will try and look after you. We accepted a last minute gig on Saturday after main support pulled out due to illness. Headliners turned up late and spent time pissing around at the bar, particularly drummer. They went onstage to soundcheck and had to cut it short because doors opened. Not a great look.

This. Let people enjoy your set however they want, as long as it isn't spoiling things for others.

It's like a game of delusional b*llshit bingo. Widespan separate coils humbucker. I wired pickups up in series. I also love his precise approach to trussrod adjustment. I made the neck too flat and lost clarity on the first 5 frets. But it sounds great above the 12th fret.

Maybe it's an elaborate drug dealing operation. Those 'instruments' are worth £100 tops. What the photos don't show is a chamber in the body filled with several hundred pounds worth of your finest Bolivian marching powder.

Great price, but it's collection only from Northumberland.

You lot are just getting too fussy.

So you reckon around $800 is a fair price? Weighing up if I can make back $699 on the signed 8x10 photo.

Been hankering after a Peavey T40 bass for a few years. Found this one on the Bay. Not just any old Peavey T40 though. This one is owned by a bona-fide celebrity and even comes with an 8x10 photo https://www.ebay.co.uk/itm/CELEBRITY-OWNED-PEAVEY-T-40-VINTAGE-BASS-GUITAR-BLACK-/124862910750?mkcid=16&mkevt=1&_trksid=p2349624.m46890.l49286&mkrid=711-127632-2357-0

Petrol station toilet foto-finish

If he thinks that's poop brown he should see a specialist. Either an optician or a proctologist.

Bass > pedalboard > amp. Over the years I've settled on which elements of the signal chain from fingers > FOH have the biggest impact on my sound. 1. Relatively fresh Roundwound strings 2. Single coil jazz style pickups. 3. Compressor 4. EQ to remove 1kHz 5. Relatively high gain input or light overdrive. 90% of the sound processing is done before hitting my amp. The only thing amp wise that really impacts sound is having a cab with a tweeter.

Begs the question of why you wouldn't just stick a 5 string bridge back on, pop in a new nut, shove an old 5 string set on and let buyer decide whether the B sounded muddy or not. Lazy

Trade you one for a nice bass. Got to love tech. Try now 🤡

https://www.ebay.co.uk/itm/1989-KOREAN-SAMICK-BUILT-FENDER-SQUIER-HM-V-BASS-GUITAR-GREAT-GIIGGED-CONDITION-/114249807711?mkcid=16&mkevt=1&_trksid=p2349624.m46890.l49286&mkrid=710-127635-2958-0 Is it a 4? is it a 5? I very nearly bought a white one of these 30 years ago. Even stuck a £20 deposit on it before finding a black Charvel Fusion V in a local music shop and begging my girlfriend to lend me difference. Before you judge me as a typical sponging muso, I should add we've now been married 23 years. Knew she was a keeper.

https://www.ebay.co.uk/itm/333749530501 Not sure what to make of this. Actually, I am, it's hideous and there's more dips and elevation in the neck than you'd find in Norfolk. Bridge saddles, pickup and tuners are decent. Buyer would be better off binning instrument and reusing parts

Whatever next? Well, you asked for it.

Left to right 1. Relic'ed ESP jazz fretless. Lindy Fralin pickups. 2. 1996 MIJ 75 ressiue jazz. Natural Ash. KioG0n custom wiring loom with series switching on tone pot. 3. 2001 MIA Deluxe Jazz V. Alder body and maple neck. Custom purple refinish (Originally translucent red) . Stock preamp replaced with Audere preamp with vol, blend, bass, mid, treble and passive tone. 4. 1996 MIA Deluxe Jazz V (50th Anniversary). Alder body and pau ferro fingerboard. Custom blue finish (originally 3TSB). Stock tuners, pickups and preamp replaced with Hipshot Ultralites, Fender SCN pickups and Audere preamp with vol, vol, bass, treble and passive tone