ezbass

The weather here is so variable and my stuff is just in an ordinary room with no climate control (never had such a luxury) that some movement seems inevitable. It’s never more that 1/8th - 1/4 turn at most for me. Anymore than that and I’d have concerns.

That is a heartwarming end to a long journey; glad to hear it.

Mark Feltham’s solo @3:16 always raises the hairs on the back of my neck. The drumming by Jeremy Stacey is pretty epic too.

Ooh, that’s lurvley, what is that fretless beauty? EDIT, oh, hang on, I see the logo on the pickups now.

I did not see that coming, at all.

Ah, my save it from a burning house would be my Rob Allen MB2 (it was a tough choice picking my Elwood over the MB2).

My old, ‘63 P Bass was previously owned by Bruce Thomas. It was sourced for him by Barry Moorhouse at the Bass Centre to replace his stolen, salmon pink, P. However, it seems that it wasn’t for him and he eventually sold it back to Barry and thence to me.

Are you happy with the sound?

Sunflower oil or peanut butter do the trick.

I have some basses that seem to always seem to need a tweak and others that don’t. Providing it’s not massive adjustments, I wouldn’t be too concerned.

Ooh, I like that.

Ooh, exciting times! Pics ASAP!

I'd always start with pickups, if the they have no character you're asking what should be just a boost/cut circuit to add this, which isn't really what it's there to do (although some do seem to have certain characteristics that are pleasing beyond the +/- dB). Play your pickups passively, if they're not doing it for you then you're going to be rolling a turd in glitter by changing the preamp. IMO. I would say someone who has changed their pickups a few times, only to go back to the originals, didn't really know what they wanted in the first place. Again IMO.

I can't argue with that. Even the surround on mine wasn't straight (about 1mm on the wonk). It's sad to say, but the hardware does seem to be just thrown on.

My 4003s was like that. Get a bezel and then you won’t see the assembly behind. Plus, it helps cover the sharp edges of the surround.

Well done, Sir. We do this in my 80s band. I’ve taken to playing it with a pick recently, especially as I’m trying to play everything on my fretless (it works quite well sonically). Madge could’ve done us a favour and recorded it in G though, I find it a bit stretchy in F.

I think my Maruszczyk Elwood L fretless. It’s my go to and is amazingly versatile.

There was a discussion about this on the Maruszczyk thread. It seems that there’s a Nissan car colour that is pretty much there or there abouts to burgundy mist.

The genius that is Rob Allen also says that the LaBella black nylons are easier to play in tune as well as helping with getting nearer to that DB tone. As I have both normal flats and nylon coated, I think he might be onto something. https://www.roballenguitars.com/faq

Got to be better than last week, it really was not my cup of tea.

I turned it up because the intro seemed quiet - huge mistake! My reaction to this is the same as when I first heard John Entwistle’s bass soloed on The Real Me, “Yikes! How much distortion?” Sounds horrible isolated but great in the mix.

Good work, Sir.

Bassists in glass houses and all that.