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Inconsiderate is what I call it . There’s a walnut 4003s (I need the lighter weight) about 4 hours away from me, which makes riding out the GAS a little easier.

Can't beat a Jetglo 4003 IMO. Good purchase. 👍🤘

I'd be happy to post a link once I've tidied it up. It needs a good editing.

It's a wonderful little gadget. I've had mine for over 10 years and it still works perfectly.

I’m not sure if Dawn and Rob are starting to wind down to a proper retirement.

Original (80s) Hohners and Steinberger Spirits were made in the same factory using the same hardware and were essentially the same instruments. As a Steinberger player since 1984, it still amazes me the continuing controversy/ furore over these instruments. They were designed to address various shortcomings of the traditional electric bass and the all wood versions retain a surprising amount of those benefits. Yes, it will feel a bit odd at first but give it a few days and you’ll feel much more at home.

Urgh @police squad you got me GAS’ing again - Rics were my first love as a kid, and I’ve not had one for 15 years… 🤔😬 Looks great 👌

If it has an E or W then it's most likely WMI who made superb budget instruments, either way if you like it and it's £250 then grab it.

How much would postage be please? approximately…

I’ve only got 2 basses now, one is a Custom Shop Jazz that feels divine, and remarkably just like my old 1964 Jazz. I’ve had truly brilliant USA Standards too, and played some pretty poor/average Custom Shops, including Pinos (dare I say it here ). A few years ago I had a great Mexican 50s P Bass, and a fine AVRI, but I just prefer the quality of the Custom Shop, and don’t need a P and a Jazz as Ps were mostly a gigging bass for me - but if I was still able to gig then the Mex would have been great with a Fralin pickup (and I say that as a person that used to gig with an original 1964 & 1966 P). A lot of Jap Fenders are Basswood bodies - not a huge issue really - but as a traditionalist I prefer alder or ash on a Fender.

Buck Rogers - Feeder

It's a real one.

You'll be able to tell where it came from be the serial number, a lot of Deans were made in the Unsung factory so it may start with US. In general for Korean basses an S denotes Samick, C would mean Cort, I or IS would be Saein (Shine) etc. Unsung made a lot of decent guitars, did quite a lot of Epiphones IIRC.

If it were up to me I'd likely manage with my CQ12; sometimes we'll not get drum feeds and it has 6 outs. However, a couple of the band want to future proof our needs and feel that the £677 X32 is the way forward. Oddly nobody wants a stereo IE feed so I'll likely be the only one doing so.

I played a Pino Precision once. Everything about it was better than any other Fender I'd played. A fantastic bass. Having said that the Standard Jazz bass I briefly owned, about 10 years ago, was good enough for everything I play.

Suicidal were thrash / hardcore crossover so a bit of both.

I imagine it must be difficult to judge what is coming from your headphones and what is coming from the stage. I also assume that it's difficult for the BBC to get the numbers of experienced engineers required to deal with so many live acts. I would guess they're mostly contractors, as this is not something the BBC does very often and I doubt there are many BBC employees who are used to engineering live music. When I listen to Chic in a few weeks I'm hoping the sound will have been remixed and the bass will magically appear.

Just recently got home from a trip to Memphis and Nashville. While I was there, I popped into the Musicians Hall of Fame in Nashville where I managed to get a photo of the 61 Jazz Bass used by the late great Joe Osbourn on hundreds of hits. Fantastic!! 👍

I thought the TV sound overall this year was phenomenal. Yes, Chic's bass could have been a tad louder, but it was definitely there and close enough. I'd say it was at a level where you'd get a studio mix back and feel the bass should slightly stronger - ie. quite remarkable for an real time live broadcast! In previous years it has been poor at times, but I thought there was a massive step up this year. It's a remarkably difficult job mixing live music for broadcast in a truck if you're close to the stage - I've done it myself, and the sheer amount of bass that comes from the stage can make proper bass judgement almost impossible. They've found a way this year it seems, and the results, to my ears, consistently ranged from good to superb. Of course, the problems are often compounded by people listening on TV/multimedia systems that are simply not set up properly. Many TVs come with a myriad of sound 'enhancements' turned on by default that can absolutely butcher a good mix, and the same goes for receivers/soundbars etc. A hi-fi might sound fine for music playback, but if the signal being fed to it has already been messed with by the TV then all bets are off! It's certainly not a live feed from the desk - it's all AoIP (Dante etc) nowadays, which makes it much easier to arrange multiple full channel splits to multiple destinations. There was a thread on a Facebook group by one of the broadcast engineers involved with Glastonbury, and he said there was much better collaboration between all concerned this year, as well as a good few technological advancements being trialled. To my ears, it all made a massive and worthwhile difference.

...and you have given a link to their new material which has helped break them to a wider audience hence my comment about "branching out their sound". This is their older material: https://music.apple.com/gb/album/nonstop-feeling/1094497174 Suicial Tendencies, IMO, is metal.

Turnstile are about as hardcore as jam spread on soft, white bread with the crust cut off. They don't appear to have anyting to say, either, unlike the bands Leonard just listed. Lazy journalism mixed with a sad need for categorisation.