Ed_S

Yup, it would/does - I recently used some as a temporary fix on a couple of loose grub screws in a lower-end Ibanez bridge until I could get some replacements, and it kept everything in place but adjustable. It's kinda fiddly to apply, though, and even worse to remove, plus it's hard to keep it invisible on a black bridge. I couldn't honestly recommend it over proper threadlock or just getting some better-fitting replacement parts.

Nice one! I've got the lighter "natural flat" finished version and it's a great instrument. Can't go too far wrong with an SR.

I'm fully 5 string at present but your all-time stats got me wondering. As best I can work out from memory I'm coincidentally at 58 as well, but it's 31-27 to the 4 strings. No real point to working that out, but it's a slow afternoon and I had spare post-it notes 🙂

Music lessons at first school were basically learning recorder, which I enjoyed.. then a musical aptitude test lead to the offer of violin lessons, so I went off to junior school already playing a couple of instruments. I was lucky that my junior school had a few senior teachers who all played instruments (headteacher played tenor horn, deputy head played euphonium, another senior teacher played flute, and they all played piano and sang) and put a lot of value on music, so there were proper recorder groups, orchestras, string ensembles, wind bands, brass bands, choirs, a steady flow of peripatetic music teachers all week, not a word said about leaving normal lessons to go to your instrument lessons or leave class early to get your lunch first so you had the full hour to attend whichever group was on that day. The standard was good and they took it all seriously (I mean, looking back I doubt any of them had a 'normal' lunch hour in their working lives), but the music was generally fun rather than high-brow classical stuff and the focus was much more about the whole orchestra or band being tight and together (things like four bar phrases and dynamics) than any one instrument's part being flashy. The word that was used in the welcome at every workshop or concert to describe what they were trying to instil was "stickability"; they knew from experience that learning an instrument was sometimes difficult and frustrating, as are many things in life, so they put a high value on sticking at it and not giving up, whatever 'it' happened to be. Having since worked in the technical support side of education I've never encountered another school like it, and I'm pretty sure that as soon as the driving force behind it retired, it will have stopped. I was just in the right place at the right time for once! All the same, at the time I thought that was just how school treated musicians, so it was a bit of a shock to get to secondary school and find out that playing an instrument was either a deeply sad waste of time which would get you bullied by sporty kids and frowned on by most teachers, or a perniciously snipey clique which ejected you in short order if you weren't already grade 5 in theory, heading for 8 in at least one instrument and vying for the solo in every performance. There was an orchestra but it was the exact opposite of what I was used to - everyone playing twiddly rubbish at the edge of their ability and hence sounding terrible together. Music as a taught subject was patchy - mostly a bit of chalk and talk about something poorly explained, then off to bash on a broken keyboard through broken headphones for the rest of the hour. One teacher was a bit different, though.. one run of lessons around Y9 was things like trying to pick out and identify all the different sounds in the intro to Time by Pink Floyd, and getting everyone to learn some chords and play Everybody Hurts by REM on as many functioning classical and acoustic guitars as he could scrape together. He came along at a point where I was getting distinctly fed up with violin and planted the thought of guitar as an alternative. I ended up playing bass via guitar, so in that sense even secondary school really did help with my musical life.

I'd have no issues with sitting for my melodic metal gigs if my back/neck was too painful to stand with a bass on a strap - it's not happened yet, but it's been very close and could easily happen. I used to sit for the vast majority of my acoustic duo gigs, but we both did... and as it's easier to cradle your chin between your thumb and index finger when you can rest your elbow on the table, so did the audience. If it was going to be longer-term and sitting was the only way I could continue gigging, then I'd get something akin to the Ashdown speaker stool made; custom height, lightweight, folding, and obviously not actually a speaker cab - just dressed up to look like one. I'd be tempted towards other bits of lightweight 'set dressing', too - I don't sing, but a cheap vocal mic, stand and cable (trailing off to absolutely nowhere) take up very little carrying capacity and, to my mind at least, kinda define a space on a stage where a performer is expected to be stationary. Personally, if I'm hiring and can find band members that are easy going and competent, the other quality I'm looking for is 'reliable', not 'athletic'. If I was routinely helping to move a bandmate's gigging gear, all I'd ask is that they'd made it as minimal and lightweight as possible, just like I do with my own. No valve heads and fridges!

I paid £749 for my D800 when they'd not been out long and there was a bit of hype surrounding them (Jan 2016 according to the email I just found - amp is around s/n 700 from memory) and I remember it seeming a bit premium but not unexpectedly so for the Mesa name. The online bank calculator thingy tells me that would be £985 today, so given the price of everything at the moment, £1149 doesn't seem all that much of a hike. Sadly I can't offer a lot by way of a review; I used it a couple of times to make sure it worked, but then it ended up in storage and has been there for the last 8 years. I've kept hold of it because it's the only amp I've got that claims to be happy at 2ohms, and the circumstances of its design and manufacture let me believe that it probably won't cook itself if I ask it to try. Now there's some more hype surrounding them I should probably get it back out and see what I think the second time around.

I've never used a Blackline 250, but I've used Markbass in general since the release of the LM2, including the LM800, F1, LM3, Nano 300 and Nano 2. I don't use the filters either, and mostly leave the EQ with everything pointing upwards at 12-noon. All I can really offer is that the Nanos are capable, convenient and subjectively sound "like a Markbass" to me.

I would have liked to see either weight relief as an option, or the ability to choose a target/maximum weight for the finished bass. My SR5 Special is a comfy and nicely balanced 8.3lb, but there's an identical one currently available off the shelf advertised at 9.4lb, so I'd be reluctant to order a custom build without being able to specify that my dream bass is a light one. I'd also like to be able to choose to have the satin finish they use on the back of the headstock continued all way down the neck, rather than the oil/wax finish. I mean, it's fine and I've got a little bottle of the recommended stock wax to take care of it, but I wouldn't actively choose it over a finish that requires no maintenance.

For me it’d be the Bonnie Tyler version on ‘Faster Than the Speed of Night’.

The way I've found it works for me is that as soon as I've caught myself giving serious thought to moving a piece of gear on, it's pretty much inevitable that it's going; I just wouldn't be thinking about it in those terms otherwise so there's little point delaying other than to wait for a more favourable market. Sure, I've regretted a few things that have left, but it's always been so many years later that the likelihood of them actually being how I remember them is slim, and there's no way I'd have stored them for that long anyway.

Heh, I'm tempted to go and get an isopropyl alcohol wipe for my monitor after having that on it Different strokes innit.. some people like the smell of an old library, and some like the smell of a new bookshop. I like the new smell. Unless it's a toaster. New toasters smell terrible. But I'm still not buying a second hand toaster.

Aah, in that sense my personal preference is to look for any bass arriving brand new in its box - extra points for intact factory tape/seal/staples - from an authorised dealer with full warranty support. Fakes and scammers aside, I've heard far too many tales of the weird and wonderful things people do to their basses (like oiling the fretboard with their own nasal sebum, for example) to find the second hand market in any way appealing.

I got my first 5 (a trans-red Jackson C5A, which I kinda wish I still had) very soon after starting playing, and my first gigging band was a duo where I accompanied an acoustic-guitarist-singer-songwriter friend from school. She was a 'proper' singer - done her grade 8 and all that - and she'd see where her voice felt strongest that day as she warmed up... and then change key/capo accordingly without a great deal of warning. Having a 5 made that a much easier gig to deal with. There was a 10 year period in my metal band where, despite all the songs up to that point having been written on a 5, I stopped gigging with them due to a 4 string P being the only thing my lower back was comfortable with at the time. I enjoyed playing a 4 in its own right, but now my 5s are lighter and more sensibly shaped (as am I, and my back is a bit happier for it) I hope I can stick with the 5s going forward, as they're definitely what I'm most at-home with. I've seen a much greater number of 7 string guitars on the heavier-music scene recently than I ever have before, and it seems to follow in my very unscientific observation that in bands where the guitarist plays a 7, the bassist usually has at least a 5. Perhaps one reason that there are a few more around? Our two have just gone for a 7 and a baritone respectively, but when they tried to sneak the songs currently played in C# standard down to B, the singer told them to get stuffed, so they're back on their 6s and Drop pedals for those. I got rid of the Drop from my board when I returned to playing 5s, so I'm back to a bit of transposing as I go.

I’ve used both and would use both again quite happily. Of the two, I have a slight preference for Bax if things are in stock and it’s just a box-shifting exercise, as I’ve found them very efficiently geared up for that. Thomann are indeed also a safe bet.

I admittedly have limited experience, but from that limited experience I agree. A few years back I had a SR5 that looked nice and had a very comfy neck, but was a bit of a slab, kinda heavy with it and suffered from a weak top couple of strings. Just a bit of a ‘meh’ bass. Still have a pic.. Now I’ve got a SR5 Special and it’s nicely contoured, looks and feels great, weighs 8.3lb and sounds absolutely spot-on. Wasn’t cheap, but it’s so much better - I have no regrets.

Didn't like reading the dots.

I've found both the Markbass CMD121p and Fender Rumble 500 to be great combo options. They're convenient and very capable standalone, and both have matching cabinets to add 'more of the same' if needed down the road. Where heads and cabs are concerned, I'd generally recommend a similar end result; a compact 500W head in your preferred flavour, with as good a 1x12 or 2x10 cab as you can afford to begin with and the option to add another identical cab in future. I know a lot of people get very good results with the Trace Elf and therefore understandably recommend it, but I tried one with my pair of Barefaced One10s and whilst the tone was quite nice, it couldn't produce anywhere near the volume I needed.

If you're in a 'tallica tribute... M&S.

We don't routinely record rehearsals, but have always recorded auditions so we're free to just play, but can then listen back at home to find out exactly what was going on. One singer, who wasn't comedically noteworthy but absolutely wasn't getting the gig on vocal merit, asked for the recordings. We didn't think that was an unreasonable request so clipped out the best take of each song, polished them up (as much as you ever can with a stereo mp3 from a field recorder in the middle of a rehearsal room) and sent them over, along with only a fairly brief "thanks for coming and nice to meet you, but we're going to keep on looking", since we assumed the recordings would explain all. They were fine with that - thanked us for our time and said it had been fun - but to our surprise also said they thought the recordings were great and asked whether they could use them as a demo to send to other bands. 🤷‍♂️

We auditioned a guy for lead vocals who learned a couple of our original songs and sang them perfectly out of step with the music. It was quite impressive really - like taking the multitrack session and just dragging the vocals a couple of seconds to the right. The natural reaction was to try and 'correct' the music to match the vocals, but we held out and it remained perfectly wrong throughout. The vocals for one track actually concluded acapella after the rest of us had played the last note, and even that didn't get a glimmer of concern.

I've returned stuff to Bax before without any problems or drama - last time was a bass in early Jan '23. Just clicked a button and filled in a form, printed a label, dropped the box off at the post office, gave it a week or two and the money reappeared. The time before that was similarly uneventful but long enough ago that they were still sending couriers to pick stuff up at that point, so ironically it was probably more of a drag as I had to wait in for a day to get the thing on its way. A recent order had some strange tracking events meaning it wasn't clear whether it would arrive on the expected day, so I gave them a call to see if they knew anything more as the sender than I could see as the recipient. The phone was answered reasonably quickly and the guy I spoke to confirmed that they'd had a problem at the warehouse and gave me a revised delivery date. It turned out to be accurate and the item was perfect.. also cheaper than anywhere else I could get it from by a substantial margin.

Yeah, I’ve had that happen before. Also had one with two grooves for the strings to run in, which gripped the thicker of the strings tight at the same taper point since the groove was only wide enough for its thinnest section. Took a bit of strength to get the string out, but it was an easy enough fix - just turned the top of the retainer through 90 degrees so the grooves were parallel to the nut and no longer involved with the strings.

Yup, that was my experience when switching back to a P from the pointy 5ers. Sound techs started to just instinctively make it sound like I was playing a bass, instead of trying to give me a clanky, percussive, nu-metal-ish tone that many seemed to feel was how the owner of a pointy, black, 5 string bass would want to sound. Guess I'll be having those conversations again now.

I played all 5s for the first 10 years, then switched back to mostly 4s for 10 years, and now I'm back to all 5s again. At the point where I switched from 5s to 4s it was likewise caused by a Fender P - I ended up trying it, liking it, and buying it, but the plan was to just play it at home for a bit of fun. However, since my main 5s at the time were a Warwick Vampyre and a BC Rich Warlock, I thought it'd be funny to take the white/white/maple 4 string P to the next gig. Nobody blinked, it felt and sounded great, the sound guy didn't make the usual mess of it in the main mix, and my back didn't hurt at the end of the night. The pointy 5s left, and I was a P-bass guy. 10 years later, lockdowns hit and gigs stopped, and I found myself mostly reaching for my Ibanez SR 5er to the point where the 4s were feeling less 'me' every time I picked one up. By the time we went back to resume rehearsals it felt natural to take a 5, and now the 4s are gone and the 5s are all I use. The circle really is about to be complete, too, as right now there's a DHL van on its way to me bringing a Vampyre 5 like the one I used to have!

I got a One10 as a birthday gift but had no real use for it at the time so just stored it. Then I started fairly aggressively downsizing my gear, which involved selling my 4x10 that lived at the rehearsal studios, so I bought another One10 to use with the one I already had and they became my rehearsal cabs. I was so impressed by their ability to replace a 4x10 that I sold my Fender Rumble 500 combo and ordered a Two10 to use for gigs. I know that technically they're engineered slightly differently, but with the same amp and the same bass playing with the same band in the same place in the same room, I honestly can't hear the technical differences. I use the 2x One10s stacked portrait with the vents on the bottoms and the Two10 also portrait with the vent on the bottom, so they're configured as similarly as possible. If you play some gigs where you'll only need a single One10, then the pair makes sense. If you'd always be taking the pair of One10s then the Two10 probably makes more sense unless having the size and weight split into two chunks is personally advantageous.