Sean

And for those that need a reminder, the whole thing looks like this...

I've been giving the Mesa Walkabout pots a bit of a once over with contact cleaner and just checking everything generally today. I took a few shots to share as it's not often you see Mesa workmanship. I've had this a long time. I bought it from Molan probably about 08-09. It's ridiculously loud in its combo form for reasons I don't quite understand. It's paid its dues and is one of those bits of kit that would get replaced if something happened to it.

Good luck. Glad to have you on BC.

Is it a Euro LX 5? 35"?

Spector Euro LX 4 2008. Trans blue. Bought new from Red Dog Music in Edinburgh at a time when Spector lost UK distribution. £499 delivered in a generic hard case. They were dirt cheap at the time, no one wanted them. I can't even find any trace of who bought it, where I sold it, nothing. That's the one for me. I probably sold it for a 5 string or something...

A modded 01 kicks the butt of an 02 IMO. I always found that the MM is too close to the bridge to get the 'Ray thing. Saying that, the J MM configuration is the Lakland thing.

He's not into them.

Just like on the annoying house-buying TV shows where they throw in a wildcard, I'm going to nominate an Ibanez SRMS805. I've got one with US Barts and preamp and pickups that are switchable series/parallel, single. Slim neck, 33.5-35.5 scale and the gem for me, 18mm spacing. This bass is on my A Team and is a keeper. The multiscale aspect doesn't even take any getting used to.

@Jonrh98 also be aware of the Lakland 55-01. It's exactly the same neck and body as the 55-02 except it's got 2 x soapbars. These were sold with the Bartolini MkI pups to keep the price down and to differentiate from the -02 but many owners upgraded to US Barts, Nordstrand, Aguilar etc. You don't see so many around these days but a nicely upgraded 55-01 would be a weapon at probably under a grand. And... If you want rolled edges on a bass that doesn't have them, there's at least one BC member that'll do it for the price of a coffee.

It’ll take someone who is better at explaining than me to put this into words but I start with explaining the difference between the use of Major and Minor Pentatonic scales. In my mind, this is a good place to start as people are often familiar with these. A major penta is ABC#EF#A (simplified A Ionian) and A minor penta is ACDEGA (simplified A Aeolian). If we work toward understanding how to use those differently, it can help. We can use Am Penta over A7 (D7 E7) progressions and it gives that “blues” feel. Whereas if we use Amaj Penta over the A7 (D7 E7) it gives a more “country" feel. They have to be heard in context. Hopefully someone can illustrate in clearer terms but I tend to think of them as different flavours.

Well, there’s a reason he was hired by Scott Devine and my teachers weren’t I suppose! Thank you, his style is more approachable.

And wouldn’t it have been a very different experience for us all if one of those teachers had said, “don’t worry, you’re already using one of the modes in your blues/rock/etc lines” and expanded from there? Instead of trying to get me to remember If Dora Plays Like Me All’s Lost!

I used to have one and can’t remember exactly why it didn’t work for me. Does what you’re describing mean that you have to cycle through the designated menu of patches to get back? Is there any way that you can switch easily between two patches for one song without having to cycle through the 4 or 5 that you’ve chosen? In one of my bands, I switch between clean and fuzz/chorus from verses to Choruses. Will Chris be able to do that?

I learnt modes 30 years ago in the way a few have described where it all relates back to C major but like others it didn't click until someone said while showing me a phrase at a rehearsal, "it's D mixolydian, which is just D major with a flattened seventh." That was my moment of truth and then I just went from there. Looking back, I was taught a lot of theory but wasn't taught much about how to apply it in practice. An example would be that I could fill white boards with the theory but when given a chord progression, would be lost on how to apply it. The two teachers I had were great at being talking textbooks but weren't great at seeing my needs. My homework would be learning to stack thirds through two octaves of each mode along to a metronome rather than what I would do later myself, taking a mode and playing improvised phrases over two chords to get used to using and hearing just one mode before moving on to the next. Having learned Spanish as an adult to a fluency level where I was giving seminars and professional presentations, it's made me realise that my music/guitar teachers were going into the equivalent of advanced grammar before covering intermediate conversation skills. On rare occasions where I'm having a conversation about modes, I think it's important to start by explaining how they sound and what classic examples are, like the Careless Whisper sax mentioned earlier, that Phrygian sound in some Metallica songs. Then explain how it's achieved by changing scale tones and then going into the theory, if required. To my mind that is the way to generate interest and understanding in the student.

I gave positive feedback with very direct statements about packaging and failure to show the neck chip in the photos. A dozen detailed photos that unintentionally fail to show the only flaw is like winning the £100k box on Deal or No Deal.

Some random thoughts: 1. Lakland basses are top notch however make sure you're happy with the neck and scale length. That awesome B can mean tight D and G if you don't use skinnier gauges like 40 and 60. The reach might be uncomfortable for some. 2. The value for money is with a quality used bass that has taken the depreciation already. Basschat has never let me down with buying and selling. 3. USA G&L 2500s are incredible, their relatively low resale value makes them outstanding bang for buck however the reverse of that is that they can take ages to sell if you're trying to move it on. 4. Posh (Premium, Prestige) Ibanez SR tick a lot of the boxes, can be upgraded (if really needed) and are relatively easy to sell on. I love a nice SR. 5. Yamaha BBs have incredible B strings for 34" scale basses, even the lower end ones. The BB735A, BB2025, BBP35 are monsters. 6. Used custom basses like Shuker et al. You will not get better quality or bang for buck but make sure you understand just how custom it is and what quirky specs it might have (like a 32.75" scale or bespoke pickups that can't be swapped out and other things in this territory). 7. Spector Euro LX. Similar comments to Lakland. Make sure you are happy with the neck profile and 35" scale. If you are, then you might find you'll be like swans and pair for life. 8. Watch out for instruments that have been modded. Are the mods reversible? Do they fit your need? I've done a few mods over the years that were a dream for me but made the instruments hard to sell because they were "quirky" to potential buyers. 9. Function band. Can I see the frets easily on stage or in the dark? I know there're stickers available but...

That's where we get into the weeds, I think. It said in the listing, "Will ship in generic hardcase. Or buyer collects..." There is no direct expression that the case is part of the sale. The bass was well wrapped inside the case and sustained no damage in transit. Our Parcelforce chap, who is excellent and has done our area for many years, said that cases get hinges knocked off in the warehouse, in transit, come open and the guitars fall out and get damaged, he's seen it a lot. I think this is a lesson to all to ask sellers more detailed questions about packing. The case will be sold on by me but will be a part of a sale and have proper packaging around it.

From what I've been reading, yes, the VT deluxe we'll do that. If you add in a compressor, you're all the way there. I'd either buy a used comp here or go for an MXR Dynacomp M282. I had one. Small and quality. Designed for bass.

I use at least a .135 You can buy single D'Addario Nickel Round strings on Amazon. On my 34" scale Yamaha BB, standard B tuning, I use a .135 D'Add with a 4 string Legacy (Rotosound) 45-105 set. £11.30 + £14.99 + postage. Even though they are different brands, they don't feel any different. I couldn't live with any less than .135, there's just not enough fundamental there. I've got a .145 in the box but haven't felt the need to use it yet.

Hi Chris I switched to an HX Stomp for exactly this kind of versatility a few years ago. It's one of those things that I'd replace ASAP if I lost it. You can make recipes of effects and switch between them on the fly. Yours would be: 1. Standard 2. On/off Switch to Dub EQ 3. On/off compressor setting 1 to 2 4. On/off Boost There are lots of multi FX units that can do all that and much more for you. It's a matter of budget, footprint and how inclined you are to set it all up. Some have a computer interface, others are done through the unit. Most are fairly straightforward and once you've nailed it, unlike separates, you can save it and use it through the FX return of anyone's amp especially if you can toggle the pre-amp on/off. As an example, I have duplicates of all my patches set up, one with the amp and cab models switched on, one with the amp and cab off. That way I can use anyone's amp that has FX return or go DI. For home practise it also means I have my patches with the 400+ sounds without lugging the beast and a cab into the house.

It's all process and measurements. It can be taught. Experience helps as with anything. I've been doing it for decades. Unless there's some serious issue, 9/10 instruments can be made to play really well. I only charge materials.

@dave74200 How's it working out for you? Progress?

I went to see Marisa and the Moths at their first headline show at The Frog & Fiddle in Cheltenham. Never seen 'em before, I was taken along with some friends. What a show! I had seen Marisa singing a coupe of songs with Sophie Lloyd in Cardiff before Xmas. The bass player in M&tM is fab, does a solo acoustic guitar song as has such a strong gravelly country voice. https://www.marisaandthemoths.com/