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IEMs can be substantially enhanced by using a tactile feedback device such as a bassboard or backbeat. I still prefer an amplifier if I’m honest

So I went to see thes guys last night and they were great. I loved all the guitars on the stage (albeit the bass player only had one 5-string J bass which I thought let the side down regardless of how good he sounded!), but the complete lack of amps did take something away for me given the title of the show was "Ultimate Classic Rock". Aesthetically I think some Marshall stacks and probably an Ampeg/TE stack would have just finished the look - even if the cabs were empty. I know there are some famous bands who have always bought additional empty cabs along for the look, but I do think I should start a campaign for all the digital modeller/IEM people out there to consider bringing amps & cabs along to gigs to serve as stage props!

Good points. I use a Babicz on my vintage J. It has the properties you describe and works very well. Being aluminium, it isn't really high mass, despite its appearance.

I used a Bassman 2x15 for years, with the rubbish stock drivers replaced by Peavey Black Widows. Loved the sound, but I got too old/decrepit to carry it up the stairs to my first floor flat in the end. I agree with msb. Modern 12s can do all that traditional 15s could. I keep thinking I'd like another 15 (single with a neo magnet should solve the problems carrying it). These days, I'm using 5s. Lots of them.

I would trust a player-grade lightly modded bass like yours over a mint-grade 1971 with zero history to it, to be honest.

We're trying. It's difficult sometimes...

Sean, I had the pleasure of buying your L2000……great bass and a very painless process with you. I have now put an imported Japanese Premium version neck on which is the Jazz Bass width version and works better with my little hands. I agree that I will never see the money back for the neck change but maybe can offset it by selling the original neck or I will keep it to pass on with the bass IF I ever sell it and someone wants to put it back to original. G and L is a very unrated brand and therefore often creates the opportunity to get a fantastic bit of kit at a great price, such as the ones you have sold.

Cold as Ice - Foreigner

My rattles on my Stentor rockabilly 1950 can all be traced to the Noddy in Toytown end pin assembly - made pf plastic and Chinesium alloy (Chinesium being that fascinating metal produced only in China that seems to have the tensile properties of Emmental cheese) which I must get around to replacing at some point. I found gaffer tape to be my friend till I get round to it.

In The Cold, Cold Night - White Stripes

my 71 i bought it was gutted for active electronics never disclosed and I was to young to check (1994) the pick ups didn't match the neck stamp the pots were refit If you are a musician I think buy what you like to play

I think I’ve hidden more of this thread than is left….. Play nice.

Sounds like a good choice of 60's classics there. Maybe turn into a permanent position altho circumstances maybe a bit odd at first. All the very best with it. Dave

Update on pairs on the stairs New (to me) White BB414 Soloking’s from Andertons recent blow out.

if my 71 is fake it's still a nice instrument

Scary stuff really isn’t it , we’re talking about a lot of money here these days, it’s why I tend to stick mainly with reputable sellers

Astronomy - Blue Oyster Cult

We've been training more competent fakers courtesy of twenty years of detailed documentation online. If you are that invested in faking Fenders, you can get high res shots of every pencil mark, scrunched up piece of masking tape, tooling mark and router deviation in an old Fender. Plus, it is tricky to state Fender always did X or never did Y. Some grainy black and white photo surfaces periodically of some bizarre factory special in the hands of a local country artist. Fender never put binding on Strat necks, apart from when they did! I saw a '50s Strat on Facebook yesterday in an unusual metallic green colour. Apparently it was all original as the 'worm' routing, pin holes etc were all intact. The owner traced the colour back to one car manufacturer's catalog and it was a dead-on match. Funny that! How many solid-colour, immaculate custom finish Fenders are going to keep crawling out from under beds and out of closets? And they all have the right pin holes, router chew marks, stamps, 'paint stick' in the neck pocket. Amazingly. Does it make them real? I saw a guitar builder on Instagram rejoice because they had uncovered a stash of unused 1950s car paint. Loosen it off with fresh nitro and you have ready to spray period correct finishes. Why is that such a big deal? Conversely, look at the nonsense passed of as vintage in the 1970s. Dick Knight used re-top Les Pauls and pass them off as bursts. Famous guitarists bought these, probably while slightly under the influence in dark dressing rooms. John Entwistle also bought a pile of weird fake Gibson basses, supposedly from Gibson's skunkworks division.