such

Worth mentioning they've owned TC Electronic for a few years now, and released many nice and still very inexpensive pedals under that brand, with better components, sturdy metal casings and top jacks.

I've watched about half of this last night while trying to convince a grumpy toddler to fall asleep. What a conversation. Looking forward to seeing the rest if it tonight. Some of Pat's records (namely "Secret Story" and the Group first "white album"), are my absolute desert island treasures. So is the "Jaco" album, recorded around the time of "Bright Size Life" with Carla Bley (that may be more appropriate for a foggy night Edinburgh walk).

Just to confirm, oiling the fretboard made a huge visual difference. Fretwork and nut (bone) are absolutely perfect. Very lively, responsive and articulate bass, as opposed to my previous "good" Precision, the Nate Mendel, which was somewhat stiff in comparison, quieter unplugged and kind of sounded always the same.

This looks super nice, congrats. I still remember and regret not buying a couple of Classic Vibes I've tried. My friend's CV Tele is also one of the best guitars I have ever played. I also had this impression about not having to play as much on a P bass. It's almost as if it sounds better played more sparsely, because each note needs time to bloom. Also, you can play licks higher up and not necessarily lose the groove (depending on the playing really) as it still sounds meaty. Js can need more notes to occupy the space, and thin out as pitches go up. Oh sorry, I thought it was the daily PvsJ on talkbass 🤷🏼‍♂️

I'd better not mention how different my acoustic sounds when humidity changes. Or how much time I spend polishing picks for it.

I'm surprised people from the "the audience won't notice, I really doesn't matter" camp even frequent a bass forum. What are we supposed to discuss here, playing more-or-less correct notes more-or-less in tune? Literally everything else is a nuance falling into that category, and I thought we liked to talk about it. I also disagree with the "when in the mix..." thing. The mix can magnify the difference. Two basses, or two fuzzes, or two chorus pedals, that sound very similar solo, can behave very differently in a mix, as in one can stand out and the other disappear.

Swapped pedals with Ben. Great communication, quick postage, safe packaging. Perfect transaction.

I agree. Absolutely love my V4.

Just had another go at trying to capture the colour

Yeah that's a very light relic, I went for a pretty much brand new look (even though they're rather good with heavy relics) except for a few dings to make me not worry about getting one, and gentle cracking on the headstock. It was made to order and I had a say on many details along the process. After a good hour playing, I can also confirm, it is super playable and sounds superb. Very lively, resonant and responsive.

Spectacular

Needs tort

Now that the monsters are mostly asleep... So, the colour is absolutely impossible to capture in photos. It's white, slightly creamy, and with pearl coat before clear. It's got a subtle mint hue that I can't seem to photograph. Fretboard is very dry, but looks like a very nice piece of rosewood. I'll oil it in a couple of days when trying some other strings. It's lighter than my recent Mendel, but balances better. So far, I'm happy.

It's arrived safely with UPS from Poland without any customs issues. I had 2 minutes to spend with it and had to leave, hence no photos.

Let me just say, that's a beautiful instrument.

I haven't had TIs in a long time, but a close friend has them on all his basses and I have a go regularly. Dunlop and Fender flats are my favourite strings and I always have at least one bass with each. I feel that in a way all three share rich, complex, somewhat growly midrange and plenty of sustain. Dunlops are probably closer to TIs in pliability, smooth feel (they are smoother in fact) and the more traditional note envelope. At £31 that GuitarGuitar sells them for, worth a try.

Fender flats are very different to Chromes. They do look similar, however they're made of a different alloy (Fenders look more grey in comparison). Chromes have puffier bottom end and a certain twang up top that almost never dies. Somewhat scooped mids too. Fenders are tighter sound-wise, with rich, complex, almost rounds-like mids. They start very clanky, but then evolve to that growly punch with lots of sustain. Fenders are my favourite flats (together with Dunlop, for very different uses), Chromes are not, and it's not even close.

I've seen a claim on talkbass that the new BBs have a hum-cancelling J. Is it true?

What is the pickup in the Limelight, do they wind their own?

I'm getting something not too different from a builder who does similar things, and this was one of my shortlisted colour schemes (I went for pearl white in the end, and part of me regrets that, looking at yours). NBD thread in a few days, current status: refreshing UPS tracking page 17 times per minute 😬

Me too, that's a very classy and surprisingly rare look for a P bass

Just had this reminded of by youtube, with a 735a in rather competent hands.

Matt bough a pedal from me and made the whole experience super smooth and easy. Pleasure.

The only thing I don't like about Lee Sklar is what he did to that 1962 jazz he mentioned in the video.

I think "Fame" was a house brand of another German store, MusikStore maybe? Basses were indeed made by Mayones, but there were also amps etc. A few years before that, Mayones had another side brand, Flame (pretty much same logo as Fame), which was making Fender and MusicMan inspired instruments. Then, all their regular lines were marketed as both Mayones and Zak for years and years, for whatever reason. I've tried hundreds and also never clicked with most. My favourite was the early, more round-shaped be-5. Very Warwick inspired, but not a copy of any particular model. Until recently, you could pick up a second hand one in Poland for £300.