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I'm looking for advice and/or ideas around how to remove a threaded post from a bridge foot. I have an adjustable bridge that has 2 piece adjusters on it. There is an M8 threaded aluminium post embedded in the bridge foot. I am unable to pull it out or turn it. There is also a small steel pin, 1mm diameter or less in the side of the bridge foot. I'm assuming that this pin is what is preventing me from removing the post. My question is how do I remove this post from the bridge foot without destroying anything?
I've tried gluing a pin onto the steel pin in an effort to pull it out. The end of the pin is angled so not enough surface to grip. The end result of this is installing a Yamahiko pickup in there. If I get the post out and the foot isn't threaded then I've got other issues!
Thanks for your time.

I have an opportunity to buy a this cab for a song. Apparently it is wired as 2 ohm. I have minimal knowledge on wiring or on how to wire this to run on a usual class D head.

Question is, is this a good starting cab? how hard is it to power a 2-ohm speaker setup? Can I convert this so that it can be powered by a regular class D amp?

There's few things I love more than playing / making music. Unfortunately with living in rural Wyoming it's hard to find people who want to make music with me.

One of my least favorite things about playing is that aside from playing at church I never have anyone to jam with, notably a drummer. I bought a digital Roland drum set and taught myself to drum because without drums bass just doesn't hit the same.

Now I've gotten to the point where I would like to be able to practice with drums in the background. I can go on YouTube of course and find backing tracks (and sometimes I do), but recently this Beatbuddy 2 came across my radar. It's expensive but it looks cool, like something I'd use a lot.

That got me wondering though, are there better / more convenient options? It's a lot of money to spend, but if I'm being honest, with as much as I'd use it it's not really that bad.

I've got a question for the Talkbass hive mind. Here's the background - I've been playing flats for the last 10 years; Labella Deep Talkin' FS flats and Ernie Ball Cobalt flats. Great sound, good feel.

I wanted to get back to roundwounds for some extra bite in my Jazz bass sound, so I bought Dunlop Nickel-wound strings which were on sale at Guitar Center. They turned my fingers black after playing them for 3 hours at rehearsal last night. My fingers turned black as well when I installed the strings on my Jazz bass 2 days ago, playing for 10 minutes.

I was near Guitar Center today and stopped in. I mentioned this to one of the techs. He conferred with the store manager about this and told me that a few years ago, one of their salespeople reacted the same way to playing nickel bass strings where his fingers also turned black. He then went on to say "it was very dangerous; you are allergic to Nickel, so you should stop immediately and get some stainless steel strings instead." I don't feel any adverse effects in my hands. Is this really as bad as he made it to be? Or just a way to get me to buy stainless steel?

My last thread was real positive so wanted to quickly show my 71 P bass with an A width neck. It has a rattlecan paintjob, an old dimarzio, replaced bridge and tuners (both frozen) and a rando pickguard that I think looks great. Sporting flats it is a light, broken in, loud bass with the aftermarket pickup. This may be on the classifieds soon thanks guys

I've had Chromes for years also Tl JF344s and Ernie Ball Group 4 flats and came across the deep talking low tension LaBella's and thought wow got to try them but read on their webpage they are round core and I'm just not a fan of round core from past experience that when you reinstall them on another or bass or have to take them off and reinstall for any reason sometimes they no longer intonate (play in tune) as the wrap can slip off the round core. I've had this happen twice with some DR round cores. So before I buy them I thought I'd hear from players that have used them and reinstalled them. Thanks

I received an email from Hartke that this was released.

Basses with headstocks often have the strap button over the 12th fret, for balance. I'd guess that headless basses don't need that. Where is a good place for it? Here's a picture of a Padalka headless bass with the upper horn over the 16th fret. Is that too close to your body? I would have thought that would alter where the bass sits when playing it.

Hello all.
Been thinking about getting a Stingray. I am thinking 4-string single H. No local shops have them, so will need to order online. There are so many cool Stingrays, it's almost criminal!

I mean, natural with black pickguard is a classic, and the black and maple, so cool and relatively neutral in a way. Then the 50th Molten gold is the wife's favourite. Costs a bit more but is limited in numbers and anniversary models have their own cool factor.

A bassist friend urges me to get a 2-band, like the 70's reissues. He loves the classic tones. I fear for a heavier instrument, and missing out on modern touches of the Special, like flatter radius, lighter weight, rosewood, revoiced preamp, cool sparkly colours and so on. Then there is the Pino signature, in fretted. Must be good right?
Darkrays and Commenford signature are not desirable to me, but still there are many cool colours.

What to do my friends? What to do.

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Here is a taste of D.C. Go Go Music!

My favorite bass was strung with La Bella LTF for about a year and while I love those strings and the sound, the bass was calling for rounds again. My secondary bass had Cobalt rounds on it so I did a string swap and it gave new life to both basses. I needed to be reminded how much I love my P bass and the string swap did just that. The other P bass hadn't seen flats before and I actually prefer the LTF on that bass over my favorite bass.

Anybody else have this experience? I wasn't interested in a new bass necessarily, but I was feeling a bit stagnant and uninspired and sometimes we bassists decide a new bass is the answer.

That was a clickbait title, what I’m going to say here is my opinion only, but at least informed by 55 years of life that included a substantial amount of jazz education.

Coltrane as a technician is invaluable. His understanding of the math was on a strange level and any of us can learn from what he played and wrote, intellectually. But - looking back in retrospect at his recordings and his choices as a performer:

His tone was shrill.

He took way too many choruses most of the time. His solos often began with beautiful ideas and devolved into patterns and exercises. “Impressions” is one example. Past a certain point, he sounds to me like he’s recording himself practicing.

His music is hard to listen to unless you are listening critically and with all of your attention.

I think at the time it was stylish for jazz musicians to record themselves playing 12 minute versions of songs that had 5 minutes of ideas. So some of it might have been that.

I’m not sure why I’m posting this because it could establish me as a pariah, but it’s a chat forum and I guess I’m wondering whether anyone at all agrees, and why.

To be honest, I've never held a 60's or 70's Fender bass in my hands, let alone play one. Compared to new, "comparable" basses, they seem to go for a lot of money, of course, depending on certain factors. I confess that I'm probably not a good enough player to appreciate the nuances of the coveted older basses, find that the ones I own, made in this century do everything I need. The original Fenders do look cool, especially the ones that have that "bullet" truss rod nut on the headstock.

So, tell me... other than an instrument owned by a famous person as a collector's item, what is the deal with vintage instruments? All sizzle and no steak, prices fueled by some sort of demand?

Hello everyone,

I love the Comfort Strapp but the I've broke 3 single buckles over the years. Two of them originals and I bought one of them online. I'm not even playing heavy basses and I'm not pushing down on my instruments.

Any buckles that are made out of better materials?

I have some Peavey Headliner 210 cabs laying around and have been looking for an affordable amp to drive them. By affordable I mean CHEAP. Craigslist has interesting items but you never know what you're getting (poor functioning or stolen). So I've been looking at these Eleca heads and wondering if they're any good. 300 watts is adequate for my present needs and most major brands are made in China anyway so I'm thinking these are worth looking into. Especially for the price. Anyone have any experience with these amps or Harley Benton heads?

If so curious what your thoughts are on the latest and greatest version of this pedal

I stumbled across Seal’s version of “Manic Depression” today, and I’m honestly blown away. I had no idea this existed.

It was recorded in 1993 for Stone Free: A Tribute to Jimi Hendrix, and apparently never appeared on any of Seal’s regular studio albums. Seal on vocals, Jeff Beck on guitar, Pino Palladino on bass, and Jim Copley on drums.

Seal and Jeff Beck absolutely KILL this. Beck’s guitar work is incredible, but as a bass player I was especially surprised to discover Pino Palladino was on this. There’s some seriously tasty playing going on underneath.

What really gets me is that I’ve been aware of Seal for decades and somehow this completely slipped through the cracks as it doesn’t appear on any of his albums. How did this song not draw more attention?

Anybody else completely miss this one? Or am I the last guy to discover it?

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I really like my Sterling Pete Wentz Stingray but I just noticed that the Loon inlay at the 12th fret isn’t an inlay at all. They stamped the shape of a Loon on the fretboard with enough force to leave a slight indentation. If you zoom in on the picture you can see the wood grain under the paint. Same for the black dot markers.

Got this Pickgard for my 1990’s fender p-lyte bass. The bass did not come with a Pickgard but I found this one in a close out bin at my local music store. It fits close enough and I like it much better than no Pickgard.
Any idea what bass this Pickgard was originally made for?

I read a Youtube comment where a person had removed a magnet from each Probucker in their Embassy Pro and said it sounded amazing. There was no description as to how it sounded.

Has anyone ever done this? If so, what did it sound like? Is it easy to do? Does it cause electronic or other issues?

I really have no idea how to word this so the title is just a bunch of words tossed out.

BUT, so I had a CMD 210 combo and took out the combo head and put a Little Marcus 500 in there, it it's great. The combo cab has a little 1/4" cable end coming out and the head has one speakon 1/4" combo output.

How would you go about adding an extension cab? I could to a cable to the extension cab and then run a speaker cable with a female 1/4" back to the combo, is that what you guys would do?

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I guess you could say this is a little Marcus style ditty based on the G & A Major triads.

It’s a Chinese clone of a Noble. I wonder if it sounds any good…

Hi, all.

I picked up a beautiful Suhr P bass and am interested in attaching a Fender style bridge cover so I can easily add material to mute the strings, a la Jamerson.

However, I don’t want to drill holes in my bass. I’m hoping for suggestions on mounting it in a way that down the road if I want to remove it my bass finish is pristine.

Appreciate any suggestions!

Have improved things over using AKG K-92s (with a now defective cord) or a pair of Razer gaming headphones I have for work with an impulse response applied in Reaper to allegedly make them sound flat, which to be fair wasn't completely terrible. I also tried it for the AKGs.

But rather than get the standard Beyer Dynamic DT770 Pros (my wife has a pair) I actually got a pair of Audio Technica M40X. Looking at the specs the DT770s might technically be slightly flatter (relative to what the ear perceives as flat) but the Audio Technica have a detachable cord and give you a spare and that's what always kills my headphones, like the AKGs that I have to jiggle to get stereo from. I wish it was a standard 3.5mm connection not a 2.5mm but I can probably work around that if I wreck both cords. But I can now hear things much better.

I'll still consider fixing the AKGs as a backup even if I was never totally convinced by the sound which is a bit harsh at the top end and sort of missing in the middle. OK, that's not a super technical description but hopefully conveys some of my dissatisfaction.

It's nice to know I have fixed the weakest link in my quiet practising.