rushbo

I used a capo on a tune which had a repeating octave/disco bassline in F, so the stretch became a little uncomfortable after a few bars. The capo worked really well, but now I've decided that it sounds better playing it in the octave above, with the root shifted to the 8th fret of the 'A' string, so I can do a "disco-octave-walk" up to it. Of course, a five string would have been the solution, but any instrument with more than four strings makes me agitated.

As a (mainly) P bass guy, that's not my thing at all, but the body shape is rather pleasing IMO. The headstock is a health and safety nightmare, but I'd imagine the sort of hardrockin' bassperson who ends up with this instrument, will care not one jot for risk assessments. I've played a few Dean basses and I briefly owned a Jeff Berlin model- all nice instruments to play. It looks like a tidy instrument and at £130, I'd say that was good value for money. Someone's gonna love that. It's the straplocks that offend me the most about this bass...

What are the chances of a gig in the Midlands? Pretty please and thankyou.

My word, that looks yummy. However... Reviews of the enhanced series were a bit mixed. Has anyone had any experience of these in the real world. I'm looking at you stewblack...

Two DFA knobs...

The easiest/laziest and potentially most useful solution for the pots would be to put the ones you've taken off back on, but leave them unconnected. That way, it's completely reversible if you have a change of heart. A bonus of this method would be that whenever a pesky sound engineer or band member starts yelling at you because "you're too loud and too bassy" you can twiddle with both useless knobs, safe in the knowledge that your carefully crafted tone will remain unmolested.

I love stuff like this - it soothes my OCD. I wish I could justify grabbing one of these, but my humble PowerPlant Jr is doing a sterling job of powering my teenytiny selection of toys on my board. Looking at the bits you've just bought, am I right in thinking that with a few wooden/metal strips of an appropriate thickness and a couple of adjustable feet/legs, you could turn it into a perfectly serviceable, DIY pedalboard?

For anything longer than a 30-40 minute set, I'll always take a "spare" bass - as we generally play two sets, I'll often use one bass in set one and the other in set two. I don't take a spare amp as I have DI outputs on my BDI 21 and my Zoom B3 in the event of my Genz Benz going pfft. I always carry spare instrument leads and power leads. One of my "old faithful" instrument cables started playing up at a soundcheck on Saturday night, but was swapped out before the gig. All the spare and "useful" stuff - extension leads, SM58 etc lives in a backpack which goes to almost every show I play. It's got me, or one of my bandmates out of trouble on many occasions. I'd hate to have to halt or delay a show because of something which could be easily put right with a bit of forward planning.

The off kilter scratchplate makes it look worse than it actually is. You could probably turn that into a nice bass, but the asking price is ridiculous. The only "vintage" parts have been severely modified (or butchered, spending on your opinion...) so to ask the best part of £250 for it seems bonkers. If it was £50 on Facebook Marketplace, I might be tempted, but as I paid £130 for a nearly new Harley Benton JP-45OP late last year, the seller may need to think again about the pricing.

In a similar vein: https://www.lidl.co.uk/p/diy-essentials/3m-duct-tape/p58613

Another vote for this - mine has had a pretty hard life and it's still going strong. It's also just under £76 (incl postage) if you buy it from G4M direct: https://www.gear4music.com/Guitar-and-Bass/Dual-Bass-Guitar-Gig-Bag-by-Gear4music/1II6?origin=product-ads&gclid=Cj0KCQiArsefBhCbARIsAP98hXSkmsMp8TsEsDmaBgfBVbWOT1FFtFb70l2uDucAl-LmaDadQ818bVkaAisWEALw_wcB

I'm a diehard Zoom fan. A slightly modified B3 is the core of my pedalboard and I've no intention of changing anytime soon. My needs are fairly minimal and the B3 has always delivered. I've also had a 506, a B1XON and a B2. I wasn't quite so keen on the 506, but the others have always sounded great to me. The casing on every plastic bodied Zoom pedal I've ever used has been very durable, but the metal housing of the B3 will probably survive The Apocalypse. I also use a Behringer BDI21 which has taken quite a beating over the last few years and always comes up smiling. Every time Zoom release a new bass Multi FX, I get a bit excited, but after reading the spec and re-assessing my needs, my humble B3 trumps them all - for my needs, anyway. I would suggest that people who are a bit sniffy about Zoom pedals might be listening with their eyes rather than their ears.

Herbie Flowers Glen Matlock

What a brilliant story!

ooohh, that's clever. The superglue would be more resilient, too.

Another vote for a partial refund, here. Those chips should glue back on pretty well. I've always found that black poly is a pretty "forgiving" finish when it come to repair. Add to that the fact that the damage will be covered by your strap means that you'll probably be the only person who'll ever notice it. I'm sure I'll be shot down in flames, but I've covered many chips and dinks in black instruments with some carefully applied, black nail polish.

Very lovely indeed. It actually looks like play wear and not the usual "take it into a field and shoot it with a pellet gun" relic finish. Kudos sir.

I tend to replace blend pots on my basses with a three way switch, as I find this way easier than fiddling with a pot (even with a detente) for live work. I'm not too fussy about how nuanced i want my tone to be. You might lose a bit of flexibility, but with a switch, its way easier to change sounds quickly and you've got a strong, visual signal too.

Nice, bold, clear graphics. I wish they'd have carried over the design from the Filter, Fuzz, Octave and Compression pedals onto the remainder as I think that works really well. A little bit of (almost) seventies retro to brighten up your board!

(Thread Hijack) I had to re-read that sentence 4 times. On reads 1-3, it made absolutely no sense at all and just looked like insane gibberish. However, on the final read, the penny dropped and I became enlightened. Not only do I now know why there's a difference between a splined and a solid shaft, I've also got a very useful life hack for bass guitar maintenance. Thank you Mr. ThePlug. That is probably going to be the highlight of my day.

A nice shot from Saturday night's gig with Roxy Magic at the lovely Buttermarket in Shrewsbury. Nice to have Brian Eno singing along in the back projection!

I'm a big fan of the P/J configuration - I have 4 instruments that use that format. On three of them, I've modded them with a three way switch in place of one of the volume pots. For live work, I prefer the ease and speed of throwing a switch, rather than dialling in something on a rotary pot. You may lose a bit of tonal nuance, but this set-up works for me.