Soledad

I need to share this. WTF?

Agree - I see it in different words though. I used to work by the Shard when it was going up - the mega-tons of steel and concrete thet went underground before that structure started going upwards. So, the way I see it is the rhythm section puts down that foundation, and you can't build a big beautiful high thing unless you have a rock solid foundation. That's my job, and I like my job

I really do need to find my way to Hatfield - that's 2 good reasons now and plenty more for sure (the other being that Spectorcore I recall). I woke up this morning with clarity - I want an SWR or the Bassman/Emminence and it needs to be a 10 or 12 (partly for the sound too). I admit to having a very long and fond relationship with Fender, I can get by for now and also have my Trace valve combo coming back very soon (although that is a brick and too big again). I'll get in touch @TheGreek - I would like to try the GK, only a quick whip round the M25.

Thanks team👍👍 Never even heard of the Ibanez @eude - don't ever recall seeing one up for sale (or maybe I overlooked it). The Gumtree Fender is east Belfast (don't think the 'east' bit matters much when I'm Kent). Had a chat, it's been gigged hard hence price. SO, GK? Is the basic sound as good? EQ is more basic but that's fine if the core sound is nice. I had seen the GK on the bay @TheGreek - that is close enough and it looks clean. The 15 is too big - I need something discreet, a very portable monitor really and the tighter sound of 12 or 10.. Top marks though for finding one on Cash Converters - never think to look there. Bargain, too far away. I may investigate the 12" GK. I like the look / idea of the Fender/Emminence Bassmans and they do seem to be around. No decent SWRs about that I can find (the £440 guy is being hopeful). I have about 2 weeks to sort this, can get by for now (TC rig, not too silly) - but you know when you get black looks for turning up with something a bit big... loud looking? p.s. found a Promethean on Reverb (Alabama) - wow the spec does look amazing, like the eq, proper big spec, tasty indeed.

The suicides are the worst. Pete Ham and then Tom Evans of Badfinger (remember the play-out track on Breaking Bad: 'Baby Blue'). Billy McKenzie (The Associates). Motorbikes: Duane Allman and Berry Oakley Drugs - too many to mention but James Honeyman-Scott and Pete Farndon (Pretenders) and of course the bass players but Jaco Pastorius in particlular, partly because of how, why and when (aged 35). All of 'em really.

Why 2? Move the grabber but keep the Mustang. Or maybe yes, get a second one then let me know when you get bored with 2 and I'll save £200 (Cherry please)

@Dosi Y'Anarchy - sounds handy👍 - did it come with rounds? And is the coil tap on a pull-pot? I like the pre-tap sound a lot too. Miles on from the short scale Gibsons of old. I really think they are onto something with the LPJ. It looks really good to me, I particularly like the head and tuners, body shape is a Gibson classic. I bet this bass is going to get some excellent reviews soon. How do you mark it on build & finish? And balance on strap?

Call me shallow, but I agree with @jazzmanb - they almost all look tinny and cheap to me. Mind you I have a TC head and that is anodised red as well... bit naff. I'm sure there is a fashion thing goes on to some degree - or maybe it's like brands go in and out of the charts, so they are hot or not. Same with basses, G&L are just coming off hot, Sire MM was hot(ish) a few months ago, not now. Partly why I like Trace - undeniably good, and suits my 'never knowingly in fashion' outlook.

yes, I saw the Warwick. It may be worth a wander up to Camden for a listen - dangerous place to enter though (Bass Gallery, not Camden). Ive sent a txt to the Gumtree Fender owner - sizewise that is OK for me, and I really like the price

Looks really good @Dosi Y'Anarchy - over many years I have been really dismissive of Gibsons' various attempts at basses (having owned and fought with an EB3 for a while years ago) - but this one looks very promising to me. I do like the simplicity of one pup and 2 pots. I suspect I'd have both on 10 almost all the time, eq at the amp. Importantly, I think moving the pup back from the neck is a very significant move - those big hummers up at the neck were way too far from the bridge to be remotely versatile IMHO.

Thanks @eude - I was hoping for a used one somewhere - the used combo market is quite rich in choice even around £200. But there's someone far away from me got a 12 on the Bay for £440 at the moment - that sounds a bit like the new price almost, Used should be 200 max really. I've seen them go between 100-150 but none about just now. I'll continue the hunt.

Basically, how good are they. I've heard good things about both but particularly the 10. I may have a working need for a small combo with DI quite soon and am considering. Obviously if anyone has one gathering dust let me know (that's a subversive wanted ad maybe, is that allowed?)

re LPJ fretless got a response within 24 hrs: so it's a no then. Missing a trick I reckon.

Funny, I really like those - very classic and go with the Gibson head shape (top bit, it'll have a name...?) really well for me. I've emailed Gibson re the poss of a fretless LPJ - no response but if I ever get one I will report. I think I would seriously consider a fretless version.

You did. I got the metallic fine doing as advised - virtually dry on contact. For a first shot I was really pleased with the metallic. It was the laquer build that stuffed it. I was aiming for a surface wetness that flows out to minimise peel, but I overdid it. I'm guessing next time I build the laquer thin as well, and accept the peel finish, then just cut flat and polish later... ? I really disliked the light tint as an aging thing - I feel sure my old '64 Lake Placid Blue Precision had faded a bit, not darkened. So next time clear only. Quite chilled about it - it may take some time but will be worth the wait.

Just ordered a pair of Custom Shop 60s pups from Thomann. Commited to getting this right now. Ironic that, cos I just messed up the laquer. The light tint (to very slightly age) didn't go on even so I can just see some shadow variation in the tinting. Worse than that, a slight run got around to the front top horn and collected there, causing the metallic to reactivate and show a streak of the pure (untinted) blue through. Basically rubbish. Third paint order into Manchester GT - can of LPBlue and one more of clear. I'm roughly at £100 on paints now (£30 of that is 3 lots of shipping). The Jazz is a keeper so it probably doesn't matter too much. Plan is: cut back to nice flat base. Re-do the blue (I've had a bit of practice) and relaquer clear only - sod the tinting, gone off the idea. CS pups due soon - they'll look good sitting in their box.

I did a few sums and worked out that this is OVER 100% correct👍 But these things are cheap so best get an assortment and see what works best for you. I'm a very firm advocate of really stiff/hard picks - if you try a fast down/up sequence with a pick with even a bit of flex in it, bad things will happen. Stands to reason - pick strikes string, flexes back an amount (which is beyond truly accurate control) then releases, note sounds. If you're down to 8th or 16th notes, tiny timing errors really show up. We should all just use the picks we get along best with, but my reasoning, playing feel and experiences make me a very firm advocate of the zero flex variant. and p.s. - the gang who look down on picks are SO missing out. Where would punk have been without a beat up P and a pick?

I really don't get that anyone would be negative about using a pick. Maybe not all the time, but when it suits and is right. As Bobby Vega says in that interview - fingers, pick and thumb. Basically I want to be good all round and a pick is a really important part of the mix. Personally I go thick / stiff. 2mm at least, I also like the injection molded ones which have no give at all - it helps develop accuracy of string attack and gives a very clean precise attack envelope to the note. I plan getting some of the Ernie Ball Prodigy 2mm - they have a grippy face and look nice https://www.stringsdirect.co.uk/search/ernie-ball-picks

Cherry LPJ fretless... La Bella white nylons on and away we go 👍 No fretless eh? Missing a trick on a mid-scale which looks like it would have a really good midrange voice. What's the score re rosewood boards - can't sell from US to EU with rosewood. I'm surprised they can use it at all on current production - didn't they get into serious bother over rosewood of 'unknown' origin a while back? And on the Tbird I notice the EU store only has ebony finish, and it appears to be quite hefty (and oddly small):

I'm considering a pup upgrade on my 2010 Jazz. Was all set for the Fender Custom Shop vintage 60s (around £145) but read good things about the Lollar set (around £180😞 https://www.thomann.de/gb/lollar_j_bass_4s_reviews.htm?rating=5 Anyone using the Lollar, any comparitive experience? Please note I am after really good mids and focussed articulate bass (tight and clear I suppose) - I think any decent set would give me all the top I'd need, the current standard ones do most of that well so it's the mids I am after. Don't want active and don't want to spend 250 on Aguilar! Any user insights welcome please.

Update. Flatted back the grey primer, down to almost nothing. Applied a thin coat of white primer (from Halfords) as the white makes a useful guide coat for the blue. I'd found there was really no contrast between the grey and blus so it was difficult to see how much blue was going on. The white got cut back a little to get it smooth and flat. I dusted the Lake Placid blue on - dry coats as advised. Not easy to get a really even metallic sheen but I kept going back to it for another dust over. Basically used the entire can although a fair bit of that is carried off in the atmosphere. Pleased with the colour - from my memory of my '64 P this looks right. I think my old P was rather faded anyway so this does look a little more blue than I recall. I did a bit of masking in the neck cavity to cover the remaining black overspray but leave all dates, names and numbers clear. That was first, before the main body paint. Then several coats of clear. Then masked up the scratchplate and control plate. A thin coat of light amber to age the exposed colour a little. I need to add more as it is not visible. Just ordered 2 more cans of clear to build the laquer right up. I'll cut and flat what is on and then slowly build up the thickness. 2 cans should more than do it but the post is a tenner so may as well get too much. Pics, so far - quite orange-peel but I'll be able to add wetter coats once this sealer coat is flattened I think. Then there will be a big flatting and polishing job. Just need to decide about pups - may dive in and get a pair of the Custom Shop vintage but see how this all goes first.

re the OP, I got the RS212 from Andertons very recently - really excellent at £299. The 115 is also on deal 349 down from 596. Sadly for me, the 210 remains full price at £499. Seriously good Emminence cabs I reckon, and at close to half price an absolute bargain. Don't know why they are so heavily discounted, maybe about to be changed but who cares.

Miami Sound Machine, with or without Gloria. Somewher between hot and smokin'. Just discovered the really excellent George Casas (bass) died this past February. I think he was the first player I noticed using a Warwick - mid/late 80s maybe?