Marc S

We were all obviously waiting for you @ped It took me a while, but I eventually shifted over to flats. I'd argue that they make a Jazz sound better too There's a problem here though.... As soon as you've converted / seen the light etc - you'll "need" a P with flats, and another with rounds. And then perhaps a Jazz with flats, and another with rounds

I used to learn bass lines note for note (when I could determine them all! lol) I well recall having to keep placing the stylus of my record deck, back a few mm to listen, re-listen and re-re-re- listen to riffs and individual notes. Oh the joys of Digital music files and helpful folk on YouTube But these days, I'm far less fussy. Like @Happy Jack, I'm also in several bands, and have sometimes gigged with one band in the afternoon, and another in the evening... only to gig with someone else again the next day. (My "record" is 5 bands at 3 venues in a 24 hour period) Having recently read Guy Pratt's book (very entertaining and well worth a look IMO) I realise that even pro players don't play their own bass lines exactly the same, sometimes. In his book, Guy talks about the time he played on Madonna's "Like a prayer". On listening back to the finished single some time later, with Madge in the control room, Guy asked "Who's playing bass on this one?" and the reply came "You, you dummy!" There are certain songs where playing as close to the original is a must, and others where playing something that's close, or more importantly, something that captures the "mood" of the song is the most important consideration. I've played a few songs where the band have altered the key from the original.... and I've ended up thinking that playing the original bass line in that key doesn't sound quite "right" to my ear, But then, maybe that's just my ageing hearing?

I know what you mean @40hz I too was "off" P basses for quite some time, having owned a couple. I too had my head turned by newer designs and more contemporary sounds. And then I went back to playing a P bass (due to the needs of one of the band projects I was involved with) and my eyes and ears were opened once again Perhaps it's all the more obvious if you haven't owned or played a P bass for a while? There are times when I've sound checked just before a gig, and thought my P bass sounded good. Then, when the band start playing... I can hear it, sitting perfectly in the mix Cutting through, but not being overly loud - sounding just like a P bass should Nice bass too btw. I've had a couple of Roadworn Fenders, which are Mex made, and they are superbly built basses IMO I particularly like the Fiesta Red MIM Classic 50's P. I had a Sunburst Roadworn 50's P, it was great - but I always wished it was Fiesta Red Enjoy

Nice looking bass @ped. Not tried a Celinder yet, but I hear good things Reading your first post, I particularly liked the words; "Got it bought immediately - I’ll figure out how to afford it later! " If I did that, I'd be in real trouble

Funnily enough - I had thought about contacting Paul about this bass - it looks great, and has PJ pickups.... then my Cort turned up locally... so I opted for that. Just wanted to say, I've dealt with Paul, and he's a top BC'er to deal with. If I was considering a small, compact Stenberger type bass - this looks a great option

I recently acquired a Cort Steinberger Clone headless bass (even though I'm already at N+1...or in truth, it's really N+3 lol) It was going rather cheap, and very close to me, and I'm thinking ahead, and that I've been asked to join in with someone who is now busking fairly regularly. It may be that there are no more pub gigs for quite some time - so if singing is allowed and legal outdoors - I'll think about busking - So the tiny overall size of my new Cort will be a boon. First thing to say, is that I couldn't get over the quality of its' construction, especially as it was so cheap. The sound from it is great too, it's PJ pickup arrangement being a fave of mine. But as others have said, the location of the strap button means that the bottom end of the neck is miles away. I'm 6 feet tall, and my arms are a fair length, but I struggled to reach F and F# Moreover, I'm consistently hitting notes one whole tone up from those intended, unless I constantly look at my left hand position. Anyhow, I found this YouTube video of a guy who has posted a helpful and cheap modification, using a £1.49 bracket from Wickes DIY shop. I've heard that the Steinberger extender is really expensive, if you can even find one - apparently they're are rare as Hen's Teeth.... or even Hen's Gold Crowns! I did this mod myself, and it worked OK - it definitely brought F and F# that bit closer... but I still automatically hit higher notes than intended unless I keep looking at my left hand So I've used this bracket method of strap extension in the video - BUT I've shaped a small offcut of wood, to act as an "upper bout" - to extend the strap button position even further. No photos ATM, cos I decided to paint it black to match the bass body. I'll take some pics once it's dry, and play about with it on the bass for a while - see if improves things further still. My reservation here, is that due to the shape of the body, it may well sit in the wrong position anyway..... apparently, someone makes a foam "wedge" to help the bass sit in a more natural position - but these are as rare as the Stenberger extenders! Perhaps I could fashion a piece of extruded polystyrene or other foam material? - I know, you may be thinking that's a lot of mods, and you're adding bulk - but the gigbag is really small, and there's still plenty of space in it Enough of me rambling on - here's the video.... with thanks to the guy posting, in case he's on here

Nice!