40hz

I've said before a couple of times, I get the idea that 'something is only worth what someone is willing to pay' and I do agree with that to a point, but, truthfully, I think we can all give most basses a ball park figure, and more often than not, a lot of basses I've been interested in, are way over this. And, so, they sit around not being sold. Again, I've said before, the new market for these once ubiquitous, meat and potatoes basses, is 5 years away from becoming outright unaffordable to all. At this rate of constant price rises, within 5 years, you'll be looking at 4k+ USA fenders and 5k+ Stingrays. At that point, I would suspect, the demand will drop heavily, they will then be sold and marketed as boutique instruments (a la Wal/Fodera/Alembic) and the current budget/import lines, are then, themselves, rebranded into the 'real thing'. There's also been a huge shift in the industry towards more budget orientated models - brands like Sire are knocking out Basses of unbelievable quality for a low price, and absolutely cleaning up with it.

Alex bought my Reverend Bass. Great Comms, absolutely no fuss, and a friendly, nice bloke to boot! Good meeting you! Enjoy the Rev!

The audience don't owe you anything. If they're not responsive, get your head down, play your derrière off and get out of dodge. Entitled whining is never a good look - especially for a band as mediocre as Royal Blood.

I've never understood people's problems with signature models. They more often than not, tend to offer something quite different from the norm. I couldn't give a monkeys if it's a Flea Bass or a Geddy Lee/Marcus Miller, Ibanez K5, et al. People in the crowd struggle to identify what a bass is, let alone knowing the name on the headstock (another thing - how many signature models have the name on the headstock? Not many I'd wager). I judge an instrument purely on it's individual merits. A great bass is a great bass and I'm not going to deprive myself of it on the basis there might be a Bass player in the audience, and they might know it's a sig model!

Devastating news. Starting bass back in 2003, Andy Rourke was someone who really caught my ear with his phenomenal, moving, melodic parts. Nobody has any business playing bass that well in an 'indie' type band. Also, such a unique voice on the instrument - you could tell it was him within a couple of bars, which again is quite something in the indie/pop scene. The double whammy of this, is that we really, now, won't ever see them reunite - not that it was ever likely, but I hoped deep down, like The Police and Pink Floyd with Rog, that the impossible might happen just once. RIP Andy - thanks for the inspiring a young me to pick up the bass and keep at it.

Individual members to stop picking new songs based on how fun they are to play, solely for them, disregarding absolutely everything else.

Gladys Knight - License to Kill, the best, by a long way. Worst is the Jack White and Alicia Keys one. It's diabolically bad.

Joel bought my pedal train Jr. A thoroughly nice bloke, hassle free and great comms. Meet up for handover was like 2/3rds of the Italian Job, we were just missing the Blue Mini. Deal with complete confidence. Thanks Joel!

Just picked up an EHB1005sms in Emerald. Needed something lightweight with a shorter scale, to ease shoulder pain that's started to become a bit more prevalent of late. When I first saw these I thought they were absolutely *horrendous* looking, but slowly over time, they've grown on me, and now I love the Cyberpunk aesthetic. It's striking if nothing else! I was super dubious about the B-String being 32 inch, as we're conditioned to believe scale length is everything when it comes to a good B. However, bar the MTD KZ5 I had, this has the best B I've used! No flubby-ness and it speaks clearly. The general hardware/finishing is of extremely high quality and it's nice to have a bass, like my old Modulus, that you trust to take a beating and deliver. And finally, I don't get the whole thing of 'the Bartolinis are dark and crap, you must switch to Aguilars or Nordstrands' - I have never been the biggest Bart fan, but in this instance, the standard pickups are genuinely very good - some real depth and punch to them, and decent treble. If anything, sound-wise I'd say it's the preamp that's the issue. The treble frequency and highs are more 'hi-mids' to my ears and don't quite cut in the way I like. All in all though, an absolutely stellar machine- can't wait to get it out on the road this weekend.

Well, our Mick is the right man for the job, given his extensive experience in shafting people.

Since D'addario stopped making Flexsteels (which were the lowest tension steelies, I've ever used) I'd say the most flexible strings, imo, would be anything round core and in a light gauge like 35-95. Basically rubber bands!

Nothing more fun to play than Ska songs, IMO. 2 weeks to learn 35 tracks though?! You're a braver soul than I!

Tom bought my TC 3rd dimension from me. Aside from having great taste in Chorus pedals, he was Zero fuss and friendly! Deal with complete confidence!

Here I am posting on Jon's wall again. Some patch cables this time, nothing too fancy, but a pleasure to deal with as always! He wins the award for most my dealt with Basschatter (so far), so he can't be all bad 😉

Sold Stuart my OLP Tony Levin. Thoroughly top drawer bloke & we had a nice chat in the pouring rain! Deal with complete confidence!

I've weirdly had this same thing happen recently with my BH550. (Random bouts of heavily distorted tone that clear up after a few seconds, on multiple different basses). My feeling is, being a class D amp, whatever it ends up being, it's likely not going to be cost effective to fix, so just bring my back up to gigs and when it dies, it dies!

I'd argue the best slap tone I've ever heard was on an Epi Thunderbird. It was, well . . . thunderous.