BigRedX

IIRC Martin Petersen of Sei bass gets the basses finished first before drilling any of the holes including those for the pots and switches as well as the screws.

How sound proof is the room at the moment and what level of sound is expected to be produced inside (just recordings being played on the monitor speakers or a full live band with amps and drums) and how much/little sound leakage from the room will be deemed acceptable?

11 screens worth (on my laptop) of posts from another forum in a foreign language accompanied by tiny photographs. A simple link to the forum thread in question would have been more useful IMO. In a minute someone will be along and quote the whole post...

Unfortunately its a sample of one of each type of wood, so scientifically the result is meaningless. Give a sample size of 100+ of each type of body wood and get consistent results from the majority of each sample and I will concede that you can make absolute statements about the effect of a particular type of wood.

Finally after many months of waiting while we get the mix right, the debut single from my latest band Hurtsfall - Lucid has been released today. We've had some very nice reviews already - "Fans of ‘The Cure’ and ‘Savages’ will easily find a place for ‘Lucid’ in their Spotify playlist" Off The Hook Music "A brooding little gem from Hurtsfall, hints of The Damned, Bowie, Depeche Mode and Host-era Paradise Lost" Down the Front Media Features the Bass VI tones of the Burns Barracuda. For this recorded version I added a bassline under the "guitar" part in the middle 8 but live the keyboards take over the bottom end at this point. Edit: actual CD copies should be available from Bandcamp at some point over the weekend.

Apart form my first guitar and first bass, I don't have any old musical equipment anymore. They have all been replaced by newer things that do the job better.

When I was playing in a covers band I always used a 5-string bass - either one of my Gus basses or an Overwater Original. They made the right sounds and as I've been playing 5 strings since 1990, they are comfortable for me to play. TBH I could have got away with a 2 string bass for the vast majority of our set.

It is my experience from the various Bass VIs I have played and from measurements obtained when looking to buy other basses, that apart from the Squier Bass VI (which already has a ridiculously narrow neck IMO), most budget Bass VIs have the strings set in quite a long way (relatively speaking) from the neck edges so the nut widths while seemingly quite generous don't tell the whole picture. Add this to the fact that many of them use standard guitar parts for the bridge, so overall the string spacing is somewhat tighter than what I would consider optimal. I've found it easier to adjust to relatively narrow spacing at the bridge then on the neck, which is why the Burns Barracuda is for me (for now) the best compromise. Ultimately I think I will end up with something custom made to my specifications for string spacing. Unfortunately the only way I have been able to work out if I can get on with the spacing on a particular Bass VI is to actually try one. One other thing that you do need to watch, which I mentioned in my original thread, is voicing. IME a lot of the instruments that are marketed as Bass VIs are more in the A-tuned Baritone category. IME you really need the 3 single coil pickup configuration to get the maximum versatility out of a Bass VI. I find that the best bass tones come from using the middle pickup either on its own or in combination with the neck or bridge. Bass VIs with just two pickups - neck and bridge - have a tendency to sound like bad jazz guitars rather than basses - in my hands at least.

If you haven't already done so you may want to add the words "post-punk" to your goth band ad. As someone who plays in two "goth influenced" bands has discovered, a lot of musicians while playing music that most definitely falls into the goth genre don't much care for the label.

Well done @molan. However I suggest you read the EULA for WhatsApp very carefully, as their conditions for privacy and data use preclude it from being used as a business communications method in many European countries.

TBH as soon as you fit the heavier gauge LaBella or Newtone strings the vibrato mechanism on both the Squier and Burns does essentially nothing.

If you are intending to carry this case for any distance on your back make sure you try it first with the bass and anything else you indent to put in it. IME some of the cases mentioned are not very comfortable to wear for more than a couple of minutes walking. Also the person who suggested a Hiscox case was being more serious than you might think. A lot of the semi-rigid cases are about the same size and weight as a Hiscox, and if you don't need to carry it on your back it may actually be a better option.

I believe the seller is the person who does the Fly Guitars Gibson and Epiphone bass resource pages. IIRC he's also a Basschat member

I don't really know what you would need to "try" on a headless.

Black Velvet is definitely synth. Very well programmed for both the sound and the "performance" but if you know what to listen for it is very obviously synth. Don't Stop Believing might have some real bass guitar in there but if there is it's as a backing for the piano and synth sounds that are at the forefront of the bass line.

I found one of the bands I currently play with through a JMB ad (I advertised they got in touch). I found the other through Facebook. The last band I joined before that, was done from answering an ad pinned to the wall of my local record shop (that was just over 10 years ago though).

While you don't NEED a practice amp for recording, When you are not recording, the ability to simply fir up your amp and play is a lot more immediate than having the start up the computer load the DAW pick a plug-in and accepted routing before you can hear anything. Sometime you need that immediacy to keep the creativity flowing.

There's a lot more to UK made basses than just Burns.

@PaulFenderJazz I wasn't previously aware of the Harley Benton Bass VI, but having had a look at it on the Thomann web site, it does look interesting. It's pity that only appears to be available in Sunburst which IMO is a pretty boring colour. However other people find it attractive, so what do I know? A couple of things to be aware of. The 42mm nut width sounds better than the Squier, but from the photos it does look as though the high and low E strings are set in quite a distance from the fingerboard edges, so it may not be as generous as it sounds. No string spacing figure is given for the bridge. This coupled with the presence of a ToM style bridge leads me to believe that it could be quite tight in comparison with the Squier. However I'm prepared to be pleasantly surprised. The price does look very attractive - or at least it will be when Thomann actually have some in stock - so IMO definitely worth a punt. If you do decide to give it a go, could you please let me know what the actual string spacing at the nut (E string to E string) as well as the spacing from E to E at the bridge. It may help me to decide whether I should get one of these in preference to my Squier as a spare bass for gigs.

The Newtones suit my playing style better, normal bass guitar thickness on the E and A string and a bit more lighter and flexible on as you go higher which suits the guitar-style lines played on the higher strings better. Plus they are cheaper than LaBellas.

You're welcome. I prefer the Newtones. And contributing to this thread has just reminded me to order some spares!

The stock strings for all budget Bass VIs IME are based on the typical fender Bass VI string gauges - 84 - 24. Most people seem to be much better off with the heavier gauge strings from LaBella which are 95 - 26. Personally I like the Newtone Axion Bass VI strings (only round wound) which are lighter at the top and heavier at the bottom - 100 - 24.

If I could find a Bass VI with a neck as wide as that of a typical Classical Guitar, I'd be a happy chap. The Squier Bass VI is definitely in narrow 70s Strat neck territory. Also be aware many of the Bass Vis available for some reason have the outer strings positioned quite far in from the neck edges compared with most guitars and basses, so the nut widths given can make the string spacing at the neck seem more generous than it really is.

I'm using a Bass VI exclusively for one of the bands I play with. I have a Squier Bass VI and a Burns Barracuda. TBH I don't like the Squier very much as I find the string spacing on the neck far too narrow. Whoever thought it was good a idea to take a neck that is already narrow by electric guitar standards and fit even chunkier string to it was obviously not thinking straight - even my 6 string electric guitars have a wider neck than the Squier Bass VI. I started a whole thread about my quest for a more suitable Bass VI for my needs here where most of the alternatives have been discussed. And having said that the Squier's string spacing at the nut is too narrow, the Burns has better neck string spacing, but is less good at the bridge (compared with the Squier). IMO the problem with most of the these instruments is that they are essentially guitars with long necks shoe-horned on to give a 30" scale length. Out of all the Bass VIs I've tried the Burns Barracuda is the one that places the least number of restrictions upon my playing style, but everyone is different so you really need to try each bass and make up your own mind. Personally having played both, I'd pick the Revelation over the Squier, they are fairly similar, but the Relation has more usable tonal variations and slightly more space between the strings which makes it (for me) a bit easier to play. All of these budget Bass VIs come with strings that are really too light for the average bass player. It is less noticeable on the Burns because it has a different style bridge, but all will benefit from changing the strings to either LaBellas (flat or round wound), or Newtone Axion Bass VI Round wound stings ( my personal choice).

Apart form a couple of years when I was using a MiK Warwick StarBass and the Burns Barracuda I currently use with one of my bands, my main basses have all been made in the UK: Burns, Overwater, Gus, Sei. Same with my guitars, Home-made, Fretking, Gus. And when there are so many quality parts made all over the world, it seems pointless to "re-invent the wheel" just so that you can say everything on a bass was made in the same country. And where do you stop? Do you insist that all the raw materials used to make those parts come from the UK too?