Steve Browning

Fair amount of competition for sonic space among that lot!!

Whiskey, surely! 🙂

Been there, so my sympathies. Needs must sometimes.

Local lad. The Shulman family hail from Pompey.

No words needed really. It was love at first sight (the bass!!) and I was soon to discover that a friend's brother had one in the same colour. I can still feel the wonder as he opened the case it was in.

My trusty old '66. Just feels part of me when I'm playing it. Been together for close on 40 years now.

Another memory test (like the amps thread). Let me see Columbus Jazz Hondo Ric Fender Precision (one or two!!)* Tokai VSB (keep looking at the one in the 'For Sale') Custom Precision (built by Graham Wheeler in Worthing) Squier Precision x 4 Rickenbacker 4000 (in fairness, I was given it) Tokai Jazz Sound* Greco Spacy Sound* Fender Jazz Fretless Fender Precision A/E fretless* Fender Precision fretless x 2 Custom Precision (built by SVL Guitars) x 2* Westone Thunder 1A Music Man Stingray OLP Stingray Sterling SUB Stingray *currently in possession.

Moondance. Hideous song.

I thought it was quite moving. 🙂

Bit of a short memory on show there.

May be 'teasing' the ex more! 😉

Choosing 'the one' means a decision regarding two basses. Either 1953 Precision (#0189) or the 1966 slab Precision. It's a difficult choice. Both sounded huge and both were uncomfortable to play for a long period (the edge would dig into my forearm when I was playing). On balance, I guess it would be the 1953 bass. The 66 is very rare but the 1953 has the history and I have a good few Precisions in the post-1957 form. The only picture I have of it, hanging next to my 1966 Jazz (another one that would worth a bit now!!).

I was going to offer an answer but (happily) Jack has given you an example that is tried and tested. If it's good enough for him ...

I presume you've seen the TV programme 'and on bass Tina Weymouth'. An interesting watch all about bass and her journey.

Black and tort is a lovely combination.

Glad you took that in the sprit it was meant. Glad to hear you're taking advice. Happy to help out on the VAT front if you have any questions. Bear in mind I can only tell you what you SHOULD do 😉

Frankly the man doesn't deserve to live.

Not related to your OP but a couple of things (ex VAT inspector and current EMEA VAT manager in a multi-national - for context). I assume you have taken advice but sometimes better to heart things twice rather than not at all. Is the formality of a company the best vehicle? If you want someone out, you'd still be stuck with a shareholder entitled to dividends. A company will incur the bank charges of a business, no more getting away with a personal account. Would a business get away with not being registered for VAT in the EU if selling merch etc. (you may be already but the implication is that you're not). Note trying to be difficult here, just raising a couple of things that struck me when reading your post. Good luck with all of it, of course. I may well be going back to music full time myself soon and cannot wait.

Thanks guys. They're both pretty comprehensive on the subject.

First off, I know the basic physics, movement in a magnetic field generating electricity. My question is 'how do you manipulate the sound?' Some pick-ups are hotter - more windings I would presume. What about those with tonal variation, enhanced mids, sparkling treble, all that sort of thing. How is that achieved?