NancyJohnson

I've had dalliances with three five string basses on separate occasions and, to be honest, I only really used to go down to the low D on the third fret. Beyond that the notes were fairly inaudible and consequently redundant. Don't get me wrong, they were great guitars (Streamer, Bongo and DJ5) and I only persisted for the sake of the music, but am now firmly back in the four string camp including one tuned BEAD. Win.

As I understand it, the road worn Jazzes with the BadAss II bridges are the more desirable, but hey, if it's amazing, why would you want to change it? Changing the pickups will destroy any character the bass has.

[quote name='Grand Wazoo' timestamp='1445999017' post='2896079'] In conclusion, I have to say I have had nothing to really write home about the New York music stores (etc.) [/quote] Didn't I tell you this? You could have spent more time doing the tourist poop. Best place I found was about 15 years ago. Small place in midtown full of vintage Jazz basses. That was it. Jazz basses. All their stock was under $1,500 a pop...several trashed/beautiful 70s models for around $800 each. Never found the place again on subsequent trips.

[quote name='Grand Wazoo' timestamp='1445384278' post='2891164'] Luckily other friendly forum members have replied with their valuable input. Thanks anyway [/quote] Sorry, but this type of thread has been done to death and I was being 100% honest...window shopping or otherwise, there pertains this myth that New York City is awash with guitar/pawn shops, that you'll find a pristine vintage gear on every street corner or that friendly vendors will sell you new Fenders at bargain basement prices. If you just want to look, go to GAK or Andertons. My wife used to call this the GAP effect. Same sh*t on sale everywhere.

I don't want to seem like I'm on a downer, but the New York bass thing has been done here loads of times. The search facility is your friend. Sadly, the days of pawn shops having a pile of dusty 60s Fenders in the back is history and New York prices are yikes. Just go to the Bass Lounge, have a chat with Larry and look at the new shiny stuff that's on sale everywhere else. P

I'm slowly falling in love with Daniel Spriewalds tone; phat and slightly overdriven. He plays for The Drills - if you're familiar with the Phil X [i]Fretted Americana[/i] videos, you'll know that Daniel is the bassist in he Drills...they generally cover something at the end of each promo. In this case, it's Superstition. Song starts at 11:45. http://www.youtube.com/watch?v=NW13vfMrsxk

Straight neck, action low enough to get a bit of rattle/buzz when string fretted.

It's still a huge wedge for a bass that's fairly common and available (minty/secondhand) in dozens of guises.

It ticks all the right boxes here, it's a good album. Loved Kotzen for many years, from the first vocal stuff on Stevie Salas' Electric Pow-Wow album, through the solo stuff/Mother's Head Family Reunion and of course I'm more than familiar with Dream Theater too. Have to say that while I'm more than aware of Sheehan's talent and legacy, I do find his tone quite hideous. I concur with the OP, the bass is too quiet and in addition, there's simply no balls in his tone. His playing is lost when his parts are up front; all the widdly stuff lacks whump.

Nice.

I just wanted something that was smart and tidy. Have to say that it was Vince @TB that told me that the Neutrik Powercon chassis was 'D-Shape' and would fit. He actually lost money on that part of the deal, but credit to him for telling me there was an alternative to the £40 glorified kettle lead that they're selling.

Quick question...who was the member who had the Alpha/A/Alpher bass? If you were standing at the back of the stage looking out towards the seating, he was at the 2.00 o'clock position. P

I recently bought a Temple Audio Duo 17 floorboard to accommodate some dirt boxes,tuner,an ABY switching box and PSU. Three photos below. It's been quite dreamy to be honest. I was never a fan of Pedaltrain or Velcro...here pedals are attached to the board by a cleverish system that involves attaching a bracket to the underside of each stompbox (with strong double-sided tape), which then aligns with the holes on the surface of the main board; the brackets can be removed easily enough. The unit's connection is made permanent by flipping the board over and tightening a nut on the bracket which locks the effect unit in place. There's some larger holes on the board surface to allow cabling/jackplugs to be routed under the board which can then be kept tidy with electrical ties. Power and amp connections are done through modular end panel connections. I felt the Temple power option was a bit too expensive, so just went with a Neutrik power plug system, which fits into one of the end panels without any need to make alterations to the board. Very happy. P

The BBC have a format that is sadly filling their schedules, be it bake-off, Strictly, dressmaking etc and this show will fall into that. Well get 'musical' non-entities like Edith Fecking Bowman acting as pseudo managers and it'll be all you-have-to-play-covers nonsense. Well, screw that.

It's nice to see their name on here. My mate Jay is their drummer. He also plays in Heights with another couple of my mates.

Enjoyed today immensely. Good to put names and faces to their onscreen identities. Lots of great basses on show. Thanks for organising!

From memory (I think CMI) were rebranded Ibanez guitars. They was a link with Marshall as well - look at the scooped M in the headstock decal.

Warmoth used to make chambered bodies, but they're expensive and you'll also be hit with the double whammy of shipping AND import duties.