bnt

On TalkBass there are a few more reports, it doesn't appear to be a single example. Either the bridge or the pickup is in the wrong position.

I'm considering one of these too: I thought about the EB-0, because I like a mudbucker, but maybe not as the only pickup, so this looks better. Here's a new playing demo I found today, fairly short: PS for colour, I like the Sunset Yellow most so far. Anderton's website says they're in stock, anyone near Guildford?

This baby is really ticking a lot of boxes for me: I like headless, I love green, I want a light & ergonomic body shape, and I've been considering a short scale. If you don't mind me asking, how was the ordering process from California, with the shipping costs etc.?

I’m not going to comment on the tone as it is, filtered through YouTube audio compression and the two different sets of cheap headphones I use. I want to hear that beast through a 1000W RMS amp driving some 24” subs. Though “hear” might be the wrong word. If my shirt sleeves aren’t flapping at 20 Hz, like sails ina stiff breeze, it’s not loud enough.

Oh yeah, you need RMS limiters on the PA. In the video, Nate tries it through Porcupine Tree's PA ... 🥴

Thanks for the build video - should be v. inneresting. They don't say which strings are on there, but with those gauges I'd go to Kalium for e.g. a 0.256" E. (A 1/4 inch jack is 0.250", for comparison!)

I didn't think it was possible to go an octave below standard bass without the sound turning to mud, but Nate had Lignum make him a multiscale 4-string with the Low E0 at 42 inches: Nate's not a small guy at six foot frack knows, but it really does look playable by mere mortals.

I've been looking for a short scale, and one of these might do the trick. I have a blend pot going spare after my MP-4EB mod a couple of years ago, the type where centre position means both pickups on full. It's an odd omission, though.

It looks like a custom / handmade thing, I can't find any information on it. The name is a cheeky movie reference for those of a certain age / preference.

Chris Larkin died in 2018 and his business wasn't taken over, so he should be removed from the first post, I think. The domain lapsed and has been taken over by scammers. I know there are luthiers in Ireland, but I haven't dealt with any, so I don't have any to recommend yet.

That would make me suspect the two outputs were out of phase, so I would swap one of the pickup’s wires around. Even if the diagram told me exactly how to wire the whole thing.

A real vintage Fender P-bass is high on my wish list. Gibson, on the other hand ... their recent bass offerings do nothing for me. A vintage Ripper or Grabber, maybe, but they could win me over if they brought back the Victory Artist in a modern form, not a reissue. By modern I mean slimmer & hopefully lighter (esp, the headstock), and with modern electronics from e.g. Fishman or EMG.

I only saw bits, caught the end of Them Crooked Vultures' set but saw an audience clip online today. I really hope this gives them the kick they need to make more music together, it's been so long that I worried about JPJ being up for it - but based on last night, he could be.

All I know is that it's not new, he played it on the last tour, as pictured here. The logo on the pickguard is the astronomical symbol for the planet Mercury.

Considering what they did next - Achtung Baby, a +1 from me, I suspect the band felt the same way! Others on my list: Japan - Tin Drum James - Millionaires Steven Wilson - hand. cannot. erase but if there is one that pushes all my buttons, it can only be The Yes Album.

I have one of those Harley Benton Enhanced MP-4 basses (reverse P and MM pickups). The neck is just over 39mm wide at the zero fret and just over 55mm at the twelfth. Could be right up your street.

If we’re talking bassists who always put the song first, and do it with impeccable taste, my go-to name is Jim Glennie of James. It’s hard to find a video with more than a few seconds of his playing, since the cameras seek out the singer (Tim) first, then maybe the others. What he does can be hard to explain: sometimes it’s lead bass that drives the song from the back without being up front in the mix, like in Lullaby or this: Other times, Jim might seem more “conventional”, with a subby tone that could become synth-like but doesn’t. I don’t know how much his choice of bass (EBMM Sterling) has to do with that. If you listen to a song like Say Something, it’s kind-of tough to pinpoint just what he’s doing differently, but you’re glad he’s doing it. To me it's about knowing exactly what will make a song better, and delivering that.

One bassist who consistently perked up my ears was Paul Webb of Talk Talk, especially on fretless: not the most flashy but he produced these snaking through-lines that often defined a melody complementing the vocals.

My first thought was something like the Ibanez EHB1005SMS, the short (30-32”) multiscale headless. This range has a reputation for being light and ergonomic, though I haven’t got hands on one yet.

My Harley Benton “Shamberg” (MP-4EB) is technically a PM, but the P is really where I’m at, sonically. The M is frosting on a solid cake, you might say. I’d probably be happy with just the P.

Last concert I saw was Steven Wilson in Dublin. I thought it was a couple of years ago, but I pulled up the ticket email and it was actually March 2018. Yikes.

Sir Paul McCartney hits the big 80 today. I dunno if he reads BC - probably doesn’t - but regardless, I wish him all the best and plenty of thanks for the thumping!

One of my pivotal P-Bass epiphanies was seeing this video: It was kind-of an open secret that Billy Corgan played bass on many early Smashing Pumpkins tracks, especially on Siamese Dream; not that there was any problem with D’Arcy’s playing, it was more to do with Billy being a workaholic control freak who would decide to track a bassline at 3am rather than wait for the rest of the band. This studio video is from around 2000 when D’Arcy was gone and they had yet to recruit Melissa. What struck me is that you can hear a bit of Billy’s naked P-Bass at the start, sounding like a P-Bass sounds, but the final result on the track is a bit more processed. Not heavily, but the compression is smoothing out the attack and increasing sustain. It showed me that the P-Bass is a bit more versatile than I originally thought and can sit well even in a modern, dense mix like this. I bet it wasn’t even Billy’s own personal bass, more likely one that belongs to the studio, always there in case there’s a job that needs to be done with minimal fuss.

Is this one of the Harley Benton kits? They’re doing a kit build competition at the moment.