Happy Jack

Depends on the specs, baby ...

I've had the lot, Mick, from high-end custom-built jobbies (built for someone else, mind) down to B-stock Thomann cheapies. In truth I love 'em, but only for the right project. I've used them for steampunk folk bands and for amateur-night Americana bands, and of course for jam sessions and frontroom parties, and they're absolutely right for all those jobs. IME by far the biggest difference is to do with string choice. The cheap nylon/rubber strings (like the ones on your old Ashbory) are a PITA to use, more so to tune, and above all to change; plus they give you such a flobbadob sound that they reduce all bass players to the same level. Unlike Jean-Luc, I actually prefer the Thunderguts to the Pahoehoes, but they're still nylon/rubber. Top tip, take a small can of talcum powder in your gig bag, use liberally before playing. The new Kala roundwounds (well, new two years ago) are a complete game-changer. They make a U-bass sound and (to some extent) play like a 'real' bass, if that's what you're after.

Getting really keen to see the finished article now! Tell me, Paul, live on your own, do you?

Lend you a rattle-can?

Unlikely, Clarky, but you never know ... I do have another gorgeous 4-string Lull which simply isn't getting played. I could probably be tempted to part with that one instead.

Glad to hear that I'm not the only one avoiding ridiculously challenging prog stuff ... This week, I am mainly learning Lola (The Kinks), Peggy Sue (Buddy Holly) and Barbara Ann (Beach Boys). I am also re-visiting Dancing In The Streets, Love Shack and Burning Love. I do so like to stay current and relevant.

Never got a gig there yet!

I have two of those ... bought them years ago. They're good, but they're unbelievably heavy.

I do like it when the pub has a private, locked car park just for the band. Big shout-out to The Goat in Berkhamsted.

Preferably with a torsal twist ...

Traitor! Splitter!

Personal recommendations are what I was hoping for. Additionally I've come across https://www.tilehousestudios.com/ which was Mike Oldfield's original studio and is now operated by his son Luke.

Sounds like another excellent choice but, as with Wickford, I fear that distance will kill that one for us.

That's looking lovelier in each photo. So was that flame always there and waiting to be revealed, or do you feel that you've 'created' it?

Alternatively, just sell all your basses and buy a Nord ...

This Bulgaria place ... midway between Derby and Grantham isn't it?

On my radar right from the start, and would be automatic first choice if Wickford were slightly closer to Harrow!

In the entirely hypothetical case of a Rockabilly 3-piece wanting to record a 4-song EP of originals next Easter, does The Basschat Massive (whoah ... that dates me a bit, doesn't it?) have any suggestions as to a suitable recording studio easily reached from NW London? Asking for a friend ...

Whoah! Serious Lazarus thread ... Downtown Freddy, the HCT part of the part number stands for Hofner Contemporary Series, which means built in China under licence (you probably say "license") from Hofner. I assume that the licensing system means that Hofner retain at least some input to the design & manufacturing, possibly even an element of supervision. Doesn't really matter these days, Chinese instruments are so well made generally.

I'm lucky enough to have owned P5s by people like Mike Lull (35" scale) and Alleva-Coppolo (34" scale), plus my custom-built Status Streamline has a P/J set instead of the usual soapbars. All of these high-end instruments work fine with the Low B. In truth, Al, the last time I played Uptown Funk it was on the Status and I ran it through a Valeton Dapper to get that distorted synth sound.

Ditto. My old Sabre sounded incredibly clean and - quite frankly - sterile, not at all like that growl he gets in the video. At the time I was very much a novice bass player, and I hated the fact that the Sabre was so clear that every little mistake, every piece of finger noise or fluffed fretting, was totally audible. I'm a slightly better player now, and I'd be fascinated to try the same bass again.

Amazed that this thread has reached p.2 without mentioning Hofners. A 500/1 Violin bass weighs less than 6lbs if German-made, less than 7lbs if a Far East model. For myself, I've found Mike Lull to be the Holy Grail of lightweight, high-quality basses, especially if (like me) you prefer a 35" scale in a fiver. If I played only 4-string basses then I'd never have moved on from my SGC Nanyo Bass Collection SB320.

You're making a lot of fuss about using a non-original strap pin ...