Romeo2

with this budget, you can get almost anything you want, 2nd hand (maybe not a Ritter, or a Fodera...) get a bass that you find comfortable playing, the neck must be perfect for your fretting hand, and the body not biting into your forearm, the rest is - apart from weight - sort of aesthetics. for versatility it should have two pickups and maybe active electronics, active/passive switch in a P/J config gets you almost any sound you can dream up try before you buy - happy adventures!

if shape does not need to be of the classic J but you're more after passive two single coil pickups then I bought a 2nd hand yamaha bbn4, taiwanese made light small body super nice neck 24 fret jazz killer sound, replaced jack socket and it could do with the cavity screening but can't be bothered, really nice bass I got for less than 150 quid word of caution on some of your shortlisted basses - if you buy without playing first you may be surprised with how heavy some of them can be I also own a G&L L2k, my go to most favourite bass ever - but it's not a jazz, just isn't. two uberpowerful humbuckers and a chunky neck (although newer tributes have apparently a more manageable profile) give you a super versatile cut through bass but it's not a jazz sound

This might be the most pointless thread on BC I've seen (apart from some of the OFF Topic ones where I simply don't understand what they are about and why they go on for years), and I absolutely am loving it. Is there going to be a difference in silks lining up or not between different string manufacturers, ultra precise production line vs not so much? Genuinely intrigued now. No pics from me, currently al basses strung with DRs, no silk

It's great.

Andy, I have no idea but you're probably right. Eight minutes, is this a new record? Round of applause, everyone, I'm impressed. Reason I was curious is that a single for an album this guy is on came out and my geek friend was like, oh what bass does this feature, and started saying things like, Jazz or Stingray, my blind bet was gibson EB0, etc etc, so I found a photo and a recent live performance and quite possibly this is the bass used on this recording then:

you guys know this for sure, just curious how long it will take the collective madness of this forum to post the answer; player is called Brent Fuscaldo:

While demo videos give us quite a good idea of the pedals' features, just like the videos above way too often they are recorded with instruments soloed, in a band mix or at least with drums the pedals will either sink or swim, and that's the real test unless you plan on playing rock riffs as a solo act at your local pub's open mic, then they're perfect representations of what you need and what you'll get!

Witam na forum - and dude, that cab of yours looks mental!

Pilichowski used to play a Rybski bass, waaay back in the 90s edit: not sure if you need to be on facebook to see this but it's on Rybski's profile (old 2014 post):

welcome to the forum, Jirka! there always seems to be one in the yamaha london store, and you may get it slightly cheaper when you're in there if you speak to them nicely https://www.yamahamusiclondon.com/Guitars/Bass-Guitars/Signature-Series/

doh, missed it!

ok, one more from me - the legend that is Mike Watt I only learnt of his existence around early 90s when the Ball-Hog or Tugboat? record came out, since then saw him live with Iggy Pop, his Missingmen project playing his Hyphenated-man record(s) but my favourite were gigs with Il Sogno Del Marinaio, Stefano on guitar and the monster drummer Andrea Belfi on drums, life-affirming live music experiences, here's a vintage 90s video with the then gunge stars:

same here, saw him with Primus in brixton academy some years ago and it was just not very good. but he's been doing some strange stuff recently, some annoying as hell, like the willy wonka-type theatre style bs but the Claypool Lennon Delirium project is superb, South of Reality they released last year is one of my favourite 2019 records

two pages in and no mention of Les Claypool yet? what's wrong with you lot?! although you might be on to something, hard to describe what he does as 'singing' ...

I ventured to some different websites, you know, that Internet thing beyond basschat, and I bring you a quote which may perhaps be helpful for the abstinence challenge (although there is a bit there that can equally be GAS-inducing, oh well, you've been warned) here goes, quote is from Marcus Miller [original formatting]: The bass players we admire most only played one bass “When I think of the guys that really made an impact on me - Jaco [Pastorius] played a 1962 Jazz Bass, Stanley Clarke plays an Alembic bass, Victor Wooten plays that Fodera, Larry Graham plays a Fender Jazz Bass and James Jamerson played a Fender Precision. “They didn’t walk around with five basses and say, 'For this song, I’m going to play my blahblahblah…’ They were connected to their instrument and their voice became that instrument. And this includes me, too, because I’ve been playing the same [Fender] Jazz Bass since my mom bought it for me in 1977. Although it’s really fun, and I have, like, 35 basses or something like that, I only really ever play one consistently. “This is just something to consider. It’s not a rule, because music is music and there’s a lot of merit to switching basses, and sometimes I really have to fight the limitations of my Jazz Bass. Just consider that if you’re looking for an individual voice on your bass, you might not want to switch around so much.”

Strange as I tried the GKs DI/preamp box with a set of fresh looking DT770s which they just had there plugged in, the guy who gave me a jazz bass to try it out was very helpful and gave me a quick rundown of the hidden options etc. and told me to play with it as long as I liked.

I suppose Yamaha don't feel like exhibiting in London because they have a massive store in Soho with all the basses ready to try out, open seven days a week, attendance is free https://www.yamahamusiclondon.com/Our-Store/ And Wunjo has lots of affordable basses right there in Denmark Street, if there is something you can't find at the show, they probably have it, also open every day.

I've been to quite a few of these shows, I think my first was in 2013 when I left with an L2k G&L. This year's wasn't the best in my experience but I really liked it, here's why: I started to play guitar last December (this time properly, or so I think :D) so to be able to also check out guitars and especially the effects, heaven! I tried a PRS through the neunaber effects, incredible stuff from neunaber, the guitar wasn't too shabby neither (although I tried a different set of effects next day with a different PRS, and it was just nowhere near as good as the previous one, no idea if it was a more budget version or what); lots of cool and crazy sounds from Walrus and Beetronics but the Shergold guitar they had there was something else, never knew about the brand, fell in love; beetronics Overhive was a damn fine stompbox too. Really liked how musicman guitars were there hooked up to an array of mooer effects, got a chance to try most of the effects and guitars, felt like a kid in a playground there. I have to say that the guitar stands seemed better prepared with headphones and readiness to just plug and play. which brings me to Chowny basses - I met Stephen years ago helping out at his first time at the show, in Olympia, was great to see him now and his extended range, and he was ready for the show: a markbass amp and headphones, I sat down and played through all of his gear couple of minutes each bass, really nice and punchy pickups in his basses, nicely put together, great finishes, thoroughly enjoyed the double humbucker one in red, good comfy neck too. opportunity to see and play stuff that unless you go to bass direct, you can't try anywhere else - to my utter despair as I can't afford it I finally had a chance to try a Vigier bass, and even though the amp was a crackly one (the guy who plugged me in was very apologetic about it) I fell in love there and then, that neck, those pickups, weight/balance, sublime. Also, tons of guitar effects (another lesson reinforced: 90% of them are sort of meh, good GAS killer, they sound sooo much better in the youtube demos :D) opportunity to speak to the makers, the builders, the sellers - once you cut through the marketing spiel, some people were utterly fun to chat with, dry humour, silly anecdotes, intriguing insight into how they came up with stuff, etc. John Patitucci - what a legend, what a nice guy, humble, funny, his duet with just a piano was jaw-droppingly awesome; he was visibly touched at the receipt of the lifetime achievement award, you'd think it wouldn't matter to him much, or that he shouldn't be too surprised, well he held back tears trying to say how grateful he was. the venue - I loved it, not only it was so much easier for me to get to it, the area around it is so much nicer than around Olympia, and Olympia always seemed a little claustrophobic, this is good, I will be gutted if it moves back to west London Ok, so what I'd like to see improved: clinics/masterclasses need to be in rooms that are not disrupted by performances in the Auditorium (John P first found it amusing, then annoying, then just gave up and laughed - really should not have happened), these could also be bigger as on Saturday (I didn't even try attending these on Sunday) not only were they packed, the aircon was not being turned on, stuffy and just downright smelly, had to leave one as was feeling nauseous; luthier/tone zone talks need to be inside rooms, geez, I tried 'attending' three different ones, just could not hear anything or focus on what was being said; more interesting/varied live line-up in the Auditorium - much as I like Ariane and Cody, their solo sets of looped tapping were just not that interesting (I still stayed, the room was air-conditioned and dark so a good rest from the noisy main hall) - another musician, preferably a drummer should be the law for auditorium bass player performances - remember that year when Trujillo was there..? (Ok, Michael Manring may be exempted from this law.) Why do people slap at the show - we will never know, it shall remain one of life's great mysteries. As much as why guitar players can't play chords or riffs all of a sudden but can shred mindlessly up and down the neck like there's no tomorrow. I will be attending the show next year, hopefully it stays in the same venue and remains a guitar and bass show.

I might be getting this wrong but from what people are saying, most of you reeeaaally didn't like the show. But can you imagine just for a second how ultra excited you would've been at this show pre-internet age when you didn't spend hours every day on a bass forum in the comfort of your sofa and laptop GASing for gear you could actually see and touch at the show, or watching youtube videos checking out the people who performed/did clinics? Loud and crowded seems to be the complaint, this coming from musicians - have you ever been to a gig..? I suppose people who enjoyed it can't be ar** to waste their time telling you here about it, seeing all the negativity. I'll give it a go anyway.

I have a spare ticket for the Sunday, would anyone like to swap for a Saturday ticket? EDIT: as ezbass has so helpfully pointed out I can use it for entry on any day, rejoice! no spare ticket available

so does anyone know how is entry for this organised? only Saturday ticket holders get to get in, or no tickets necessary at all? the email doesn't say much ...