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I have ambivalent feelings about music shops. In the days when they were filled with wondrous and exciting (to me) musical instruments I had no money to buy them, and when I was finally in a position to have a decent amount of disposable income for musical equipment, I found I was no longer interested in what the typical music shop had to offer. I was lucky at this point in that one of my very good friends worked for pro-audio dealer and could usually manage to get me anything I was interested in to try out for a week or so at home which was far more useful than any amount of playing in a shop could tell me about a piece of gear. The last time I bought a musical instrument as a result of browsing a local shop was in 1993... The internet in the form of first eBay and more recently Reverb has pretty much killed off the second had market for interesting instruments in shops, and then along with forums like this one have opened up a far larger range of options for anyone looking a bit further than a Fender P or J or a copy of one. It's hardly surprising that typical bricks and mortar stores are in decline as simply can't compete with the scope of the whole of the internet.

Did someone say large pedal 🤗

I picked this up 3 weeks ago locally to me, on the way to a ska gig (used my regular bass), then used the Roscoe the next night at a function band gig- thought it’d be more fitting. It came with black sticky strings, so put on some others and gave it a decent clean up. There’s no doubt that it’s an absolutely superb bass, but still unsure if it’s for me or not. The 35” scale on it is unnoticeable really, but the 18mm spacing, weirdly is (I’m so used to 19mm). So the jury’s still out on it for me.

I am privileged enough to have commissioned a new build with Overwater. My first was a Scott Devine Signature in 2014. This one will be a headless Progress with some custom options. I like a 16.5mm string spacing and Chris has been able to source a Hipshot bridge/tuner system for it as their own bridge/tuner is specifically 18mm spacing. Bridge pickup will be 30mm from the bridge and a flat back to the neck, which I find very comfortable. First pic through is the face wood, quilted mahogany. How good is that going to look with a finish on it?

True, my 93 Sterling is a ceramic pickup and sounds phenomenal. The Bongo has always been neodymium though so it's interesting they've made that change. Looking forward to hearing one for sure. The 2-band Stingray is a beast of its own, it'd be interesting to hear a Bongo with similar voicing!

I owned a late 60’s model like this, mine was the 1x12 though. Had it since the mid 70’s, sold it in 2023 to a very famous player. Was the best sounding guitar amp I’ve owned, my old LP Junior sounded great with it. I now have a Fender 65 Deluxe Reverb which sounds fine, just not so raunchy as the Marshall. 😊

It was, at least in the acoustic stage! Couldn't see you because of the acres of black cloth on the sides of the stage! I found the Empress, Opera and Casbah all suffered from over loud kick swamping everything at the bottom. Insufficient gating, perhaps coupled with metalhead drum obsession?

have a look inside, if theres any scope to re organise the contents, ill give it a go in a custom housing

My 65 Jazz. 100% original with the exception of the body rout, the pickups, the electrics, the scratchplate, the tuners. Ok, so the body and neck are the original bits, just not in original condition. 🙂

I own two of the GR AT110 (both 4ohms). Excellent cab, and 'light as a feather'. When I compare to my larger cabs (front ported 210 Mesa Subways), the GR seems much less directional - probably helped by their rear port - this may (or may not) be useful in a pit environments etc. I've used the GR's both as standalone cabs, or stacked - with fretless, fretted 5 string, and upright bass. They handle higher volumes well and the switchable tweeter (3 options) is very useful too. You're most welcome to try if you are passing - I'm based near Winchester, Hampshire.

while I could live with an original moogerfooger if I had one cos they are super cool - that looks a little silly. Of the phasers in your picture it's probably the least appealing . (mostly going visually!)

Good players grade instument I'd say. I have an irrational dislike of light coloured basses (I should list that!!) so wouldn't entertain it (I certainly would the 64, though not my favourite neck profile).

Shame, you're sadly deluded. I'm not pretending to be anything. Your puerile comment above tells me everything your comments (plural) says about you. Your ignorance and stupidly not to recognise YOUR own mistakes and lack of understanding of context, clearly sums you up. The fact you apparently have an ignore list perfectly informs me of the type of person you are. Deluded.

Yeah very odd , I guess the moral of the story is just by fender/squire, at least you can get replacement parts, no problem

Drum roll, please... 🥁

I used to go to music shops during the week. Saturdays was a nightmare with multiple guitarists playing loudly and badly. You couldn't hear yourself think!

One more slot left....!

Give it 100%. You're professionals and good at what you do. Don't let anything put you off doing the best gig you can.

Absolutely the best live guitar sound I've ever heard was a Les Paul through a Marshall 2x12, 18 watt Bluesbreaker-type combo. Apparently they were made for the old catalogue market many years ago (this would have been 40 years ago anyway). Just a volume and tone control. Just a gorgeous rich sound with loads of depth and beautiful sustain.

I haven't walked off, but on one gig the guitarist was so loud I stopped playing and stood there with my fingers in my ears. The guitarist started ripping me a new one, but his wife (the band's singer) weighed in on my side, telling him his volume was stupidly loud. We were half way through a contract playing US airbases in Germany so were stuck with each other, but we never got on after that.

Many years ago I played with a very good guitarist. He did a lot of recording and West End theatre work, and got every tone of every guitarist at very sensible volume levels. He was using pedals and his amp properly. It was a treat playing with him.