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C-60 Bass · Aug 14, 2026

I have liked the Joyo British for a long time now.

More recently got the OKKO Motorbass and that this is great. You dont have to go full Lemmy, at lower gain you can still get a good Marshall grind. Its one of those effects that really benefits from being played at gig volume and just get better there more you open it up

bucephylus · Aug 14, 2026

Bass4LifeRS · Aug 14, 2026

I don't know if it's really relevant for you all, but when I received mine, the g-string tuner had a screw in the back missing, but worst of all it was something broken inside this tuner, and the rattle and tonekill on the g-string is horrible. I just decided to order myself 4 Hipshot USA ultralites, so it will balance even better too. Poor quality control though, even unamplified it would have take 5 secs of playing to notice a huge problem. Nut is cut too high and the pickup is mounted with different heights so the strings are very uneven sound, but those are fixable. Otherwise the neck was good and the Diamond Dust Sparkle-finish is very nice indeed. Weight was 3,95 kg.

4Mal · Aug 14, 2026

Passinwind said:
And then I hauled the amp down to @4Mal's place the other day and plugged into his Subway 212 cab. Seemed likely to be plenty loud enough for many of the local gigs he or I would play, I think. Really nice sounding cab and we didn't need to tweak EQ knobs much if at all to get some big powerful clean tones. I'll have to see if I can scare up a fridge to plug into too, because why not?

That amp and my Subway... really nice! as usual great work from CE.

We spent a while testing my Alembic SF-2 and AudioFab Frequency Distiller into my V803 interesting! The new Passinwind Amp though.. Star of the show for sure. We talked of interesting plans... I'll be staying tuned.

And tubes... My old and now gone Shaw Tube Injection used a 12SL7 as I recall. That thing was think, thick, thick. Loved it tonally. Did not love the form factor...

Salicete · Aug 14, 2026

I'm adopted, and though I could care less, because my "parents" are the great people who adopted and raised me, my wife is consumed with finding out who my birth parents were.

As I am not spending big bucks to have a genealogical investigator look into it, I threw a little money at Ancestry.com and CRI Genetics on a fishing expedition.

Found out some cool stuff about my ancestry and genetic proclivities, plus that have a lot of 1st and 2nd cousins, and one half-sister.

I messaged a couple "relatives" who initially answered, but then a wall of silence went up. I'm betting someone is still alive who would not be pleased for others to know they had dumped an infant into the in-box at the all-night orphanage, so to speak.

I'm guessing I am the blot on the family escutcheon

I've since happily dropped the matter.

Salicete · Aug 14, 2026

kodiakblair said:
OP lives in Brazil.

Import tax, tariffs and duties add between 80% - 90% to the cost of any item they bring in and the shipping.

Any 'beater/parts bass' would have to be at an incredibly good price. Can't see that happening, not with eBay/Reverb prices between $1000 and $1900

@PhillipHolbrook

Saw this listing from Peavey's eBay store while checking prices. No idea when they made a further change, suspect 1996/97, but the TL-5 did get those ABM bridges.

View attachment 7557620

Ah, well, not all suggestions are corkers, I suppose I stand corrected.

kodiakblair · Aug 14, 2026

@Salem6127

They're called "double bullet" bridges.

Supplied to the trade by WSC Music in Korea. WSC either manufactured them themselves or had Sung IL handle it.

Listed as discontinued in WSC's Partsland catalogue.

<drop> SI5

shoppartsland.com

<drop> SI4

shoppartsland.com

Beej · Aug 14, 2026

Here's my overthinking. The neck 'beam' from nut to saddle contributes to 'tone' through it's stiffness. It's possible to influence the tone an instrument can produce by altering the stiffness of that beam. This is partly what accounts for some tonal differences when comparing neck joints. The more solid the neck joint, the stiffer the beam is in that area. Neck-throughs, set necks and screw-on necks can vary in their stiffness, but they can also be made similar through engineering. If a set neck is dovetailed and fitted very closely, the woods will mostly act in unison, forming a beam comparable to a neck through.

If you want a two-piece reversible neck joint to have that same stiffness, then you'd need to ensure really good clamping pressure in the neck/body joint, as well as good fitment of the pieces in the joint itself. The clamping pressure that is provided by thick wood screws is good, but it can be improved by using bolts that thread into nuts embedded in the neck. If you want to really be able to clamp that joint tightly, a good approach is embedding those nuts under the fingerboard so that the clamping pressure is pushing on the neck vs pulling it into the joint.

The use of larger bolts helps ensure they have the tensile strength to be tightened up really firmly without stretching/breaking. The 1/4" bolts will have more tensile strength than 10-32, but four 10-32s should also still have plenty of tensile strength to provide a very firm bolt on joint, especially if the nuts are embedded on the top face of the neck under the fingerboard. :thumbsup:

rzero · Aug 14, 2026

I haven't played them but I'll mention the Duncan Hot Jazz are listed at 16.3k DCR for the neck and 16.6k for the bridge. I know numbers aren't everything, but this seems quite hot for Jazz pickups, especially true single coils.

KevInDaBassment · Aug 14, 2026

"For bass players, stepping into the spotlight can be daunting enough. Take away the rest of the band, and suddenly there’s nowhere to hide – just four strings, an amp and the challenge of carrying an entire performance on your shoulders"

Hmm....makes me question if the author of the article is really a bass player

In all seriousness, yes plenty of virtuosos who "...only needed 4". Good article too, always great to hear some wisdom from Michael.

songwriter21 · Aug 14, 2026

NotJayKay said:
Ah man, that's not awesome.

Is it stripped, stripped? Like no chance at all of getting the nut off and replacing it? With mine I had to buy a MusicNomad Premium 1/4" Truss Rod Wrench for Taylor Guitars (MN231) as nothing else I had would fit in the small channel.

I have a wrench that worked from a previous Tobias, and I don't feel like putting more money into the bass.

Pacman · Aug 14, 2026

This guy. Absolutely fantastic teacher.

Online Bass Guitar Lessons | Russ Rodgers

Take online bass guitar lessons via Zoom with a teacher who has over 40 years of experience. Flexible scheduling, personalized curriculum.

www.russrodgersbassguitar.com

Francois Blais · Aug 14, 2026

Translates to:

Thank you for your reply. Unfortunately, thank you for the valuable information.

DJ Bebop · Aug 14, 2026

Tim Barber said:
View attachment 7557570

I needed a test amp for my workbench, so I threw this thing together out of scrap wood and a Dayton 6" aluminum cone driver I had lying around. No calculations, no forethought lol. It does everything I need it to; so also no complaints.

I bet it sounds like it looks and I mean that in a good way

anightintunisia · Aug 14, 2026

facetsquared said:
Don’t get me wrong - he eventually refunded me. But I am still out of pocket for the customs fees, which he refuses to credit back to me and says I should go to UPS (a route I already took and which proved fruitless).

The absolute worst.

I’m about two years paid, with almost no communication back and no guard.

SJan3 · Aug 14, 2026

jVilla76 said:
The wait is over. Been trying to purchase one of these MB carry cases for my ninja 58r for quite some time now and everywhere I looked, GC, Sweetwater, Musicians friend have been out of stock for the last 4 months at least. Finally got my hands on one today. View attachment 7557383

I've had one for years and I think it's the greatest idea! So easy to carry and it'll keep your amp looking like new as long as your careful when plugging in your wires.
Set up is a snap!

srayb · Aug 14, 2026

I think the SR600E looks pretty good - almost "Premium" level - with Nordstrands.

But I don't see it on the Japan website...?

DWA2469 · Aug 14, 2026

jimmydean said:
That was awesome baby ! Last year I was passing through Akron , OH and stopped in this second hand shop and ended up buying 6 new bass gig bags and some loaded bass bodies and necks and parts , couldn't believe it . Sometimes you get lucky in these second hand shops .

You may have found the only thing of value in Akron!!

whitetower1080 · Aug 14, 2026

2saddleslab said:
Well done, enjoy that beauty!

Thank you!

ad9000 · Aug 14, 2026

I used a Trickfish 410 cab a few times at a venue that had a tough load in that made it difficult to bring my own cab, which was a Subway 212. I brought my own head, which was a Mesa D-800+. I thought the Trickfish cab was ok, but I didn't like the tweeter sound and the low mids were a little hard to dial in. It was not nearly as punchy as the Subway cab either. If I had to make a choice between the two I'd take the Subway any day.

DeltaPhoenix · Aug 14, 2026

I just saw that Eric Gales, Dennis Chambers and Billy Sheehan are going to do a tour. I hope they expand the tour so I can see them.

Eric Gales, Dennis Chambers, and Billy Sheehan Form New Power Trio GCS – No Treble

www.notreble.com

PiquetBass · Aug 14, 2026

Andy Marshman said:
James would demand louder and more emphasis on the ONE.

He would be a funking nightmare!

ggvicviper · Aug 14, 2026

ET777 said:
This is my late December, 1963 Fender Bassman 2x12. Its the 6G6-B circuit and was one of the early "tuxedo blondes" with the black faceplate, raised Fender logo and wheat grill cloth. The speakers are Oxford 12M6. Paul's blonde Bassman was an early 64, with Oxfords... which he probably got from one of the 2 UK Fender distributors. He used the amp from 1965 to late 68/early 69 when Don Randall of Fender got him the silverface AC568 Bassman with the 2x15 cab. That is the amp which is in the Get Back sessions and on Abbey Road. However the blonde Bassman, was used on more Beatles bass tracks (and a lot of guitar too) than any other amp. Paul played the guitar solo from Taxman on it, and the lead guitar on Paperback Writer too. Its a great amp and is very versatile.

Pete Townshend used an early 64 blonde on the Who's My Generation album and in their early shows. He said in an interview that he took it from John Entwistle and started using it for guitar.

According to Geoff Emerick they started using a DI for Pauls bass as well, just before the Paperback Writer session but they did not like it very much as it did not pull out the deep bass that they heard on American records, like Motown. So he rigged up a setup using a speaker as a microphone, for that session and it worked... got a huge bass sound. You hear a lot of the "cabinet" sound in the mid 60s Beatles tracks. Here is a photo from the Sgt. Pepper session where they have what looks like a U67 hanging out in front. Paul usually had the amp behind a baffle right next to Ringo's kit. The amp later made its way in to John Lennons office at Apple, then to John's home studio where it was used on the Imagine sessions and can be seen in videos from those sessions. It would be interesting to find out where it is now.

The Boulevard Recording channel on YT does a great job breaking down the Beatles recording techniques. Clay refers to the Bassman as a "62" but his is actually a 64 as well, due to the raised logo, black faceplate and wheat grill.

Awesome amp! You must love it.

Regarding the lead riff for Paperback Writer, there's still a raging debate going on whether it was the Fender Bassman or the Vox UL7120 prototype.
Every time I hear someone cover it with a UL 7-series amp, clone or pedal, it has the "tearing" sound, but also sounds too wall-thick, and not nasally enough (including Perry Stanley's excellent overview of the amp).
Every time I hear someone try with a Bassman, it has the proper nasal quality, but often sounds a little too weak or not quite driven enough (including Clay Blair's amazing Boulevard Recording video on Revolver tones).

At the end of the day, who knows?

socknroll1 · Aug 14, 2026

My takeaway is that with the same player, playing the same tune, the same way, with vastly different basses but what appears to be similar settings (both pickups 100%, tone open 100%) and similar-sounding EQ for all basses, I agree with @J Wilson above - with a blindfold, I wouldn't know it was 21 different basses. I might think it was 1 bass with 21 different takes after the smallest of EQ tweaks, like a knob slightly turned here or there.

He's a great player with a great sound. I don't play or sound like him and that's OK.

jmlee · Aug 14, 2026

There’s a very good chance that the E string has been mounted with a bit of a twist in it. Labellas are notoriously sensitive to small mounting errors and will sound very dull. Detune the string completely and pull the ball end free by an inch or so, enabling the string to find its natural resting state. Then retune the string. With any luck you’ll notice a substantial increase in brightness and sustain.

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