NancyJohnson

Mott The Hoople. None of the really early stuff, so kicking things off from 1972s All The Young Dudes and I'll go through the post-Hunter Mott albums (Drive On/Shouting & Pointing) and then swing back to the 2009/13 live albums. That's me set for the day. Might watch the documentary tonight too.

Has anyone watched the video? Jeepers.

I've squirrelled away enough over the years and while I feel I have some dreamy basses, if a decent 60s Thunderbird II came up, I'd consider it. Anything else, nah.

I'd concur and I'd also maintain that we, bassists, are in general a bit smarter than our six string bretheren and can generally see through the sales and marketing guff that alludes to support Signature models, whichever manufacturer is producing them. I saw an interview with Geddy Lee one time and he was extolling the virtues of the Jaco fretless the Fender custom shop had made for him' he was saying something along the lines of how perfect it was and how he wouldn't change anything on it because, '...it's Jaco's bass.' Frankly, I almost did a little bit of sick. It's no more Jaco's bass than the guy over there who's playing Flea's 60s Jazz is playing Flea's 60s Jazz. It's a copy.

Over the years there's been a few instruments I'd have been over like a tramp on chips but for some part of it that just ruined the look of the thing. Many of you will know that a while back I was haemorraghing money on Gibson Thunderbirds, I loved the look of the Gibson Nikki Sixx Model but (three pointer aside) two things ruined it...the inlays and the scratchplate. Just thinking about it, I've never seen a photo of Mr Sixx actually playing one, so I don't know what that says. Moving forward, I have this on/off (mainly on) desire for a Les Paul Junior or a Gibson Melody Maker. Imagine my delight when I saw the Michael Clifford Signature Melody Maker: As I'm not 15, I had no idea who Michael Clifford was so I Googl...woah, wait a minute, red crossed inlays?? Gibson, Gibson. I could live with the red Gibson logo and swapped out the truss rod cover, but come on. It's a half decent looker, might have put a HB sized P90 in there, maybe some Sperzels later down the line, but the red Xs are a total put off.

I'm listening to a load of Max Richter today. Orchestral.

Just throwing this in. Has @Swaffle88 actually removed either of the pickups to determine what they are? Also, how would he/she feel if the non-matched pickup was something premium/expensive, like a Lollar or Lindy Fralin? Would the opinion then be that they had got one over on the seller?

The sunbursts on the early Stingrays are lush.

Probably not... I'm fortunate enough to have a decent sized (brick) extension on the back of the house that serves as a TV/garden room; despite it just being an extension, it's effectively #2 lounge (as anyone here who has been to my house will testify) and I try and keep things tidy in there. My gear has moved away from racks/cabs to something more bijou...wherever this journey takes me and whatever I end up with, it has to look nice as well as doing the job; I'd prefer to go with a pair matched cabinets.

I'd concur with this; I've listened through studio monitors, AKG in-ears, over-ear phones. I would like to hear these cabinets driven at some point in these videos though...credit to Alex for demonstrating these with a flattish and clean tone, which if nothing is highlighting the nuances tonally between both the enclosures and the basses, but in my gigging circles nobody I met played with a flat/clean tone.

There was a clamour for them like bog paper at the start of the pandemic. I never quite understood how or why it all started. Never saw one in the flesh, headstock looked a bit shonky ('Where can I borrow a drum sander?').

These are lovely! I had one a while back (black/sparkle); took a bit to get my head around how one instrument could be both guitar and bass. GLWTS!

I have a EuroLT in this configuration, bought it about six months ago. Can't fault it, plays nicely (it didn't when I got it), suits me tonally, lovely for recording, drives nicely when pushed through my talaent boosters. Over many posts I think I've harped on in debates about pickups/preamps, active/passive, neckdive (whaaaaat?), Gibson v. Fender etc etc. I'm currently running six basses, covering an extremely broad purchase price range. I'll go again here and say that in general, I know what I want to sound like (dUg/Geddy) and that I don't have any really issue dialling that in, whatever the bass. Insofar as Spectors go, I prefer the visual aesthetic of a PJ pickup configuration over soaps, but to be honest irrespective of the preamp/pickups, you should be able to dial in what you want easily enough. Try a few. See what you like. Buy.

I had seen these. Tonally, I'm very much in the Geddy/dUg area, so I guess my preference is for something with a little more top end frequency capability, to adequately pick up the dirt. The Big Baby II has (allegedly!) a usable frequency range 30hz-20khz, the non-tweetered/horn TKS give more rumble but feel the highs would be restricting.

When I see headstocks like this, I always wonder whether the first thing that goes through people's minds is to sand off the logo and re-shape it on a drum sander to something more Fenderesque.