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I suspect that middle-men are in some way to blame as well... I've got a mate who works for a major artist agency - he has a number of bands he books tours for and stuff. One of them - a well known UK band - gets around £25k/gig. From that, he gets £5k! He's now in the process of retiring to a lovely villa by the sea just north of Biarritz.

So some great suggestions for remembering AJ's brilliance. I liked the Michel Camilo and Hiromi stuff playing with piano and, in the former case, a Latin situation. In contrast, and to show AJ's range and adaptability, here is a high quality video of AJ in a guitar trio setting with the ultra textural and improvisational Wayne Krantz.

Variation on the question im using a EBS Multi Chorus like this Bass > TC Polytund > Altlas Compressor > Rodenberg LDP > Multi Chorus > Amp My issue is engaging the Chorus jumps the level considerably. There’s no Vol or Mix control. Any ideas or do I just need a different chorus

Does it have a hideous headstock or are you just crap at framing photos 😁 Seriously though it does look very nice.

As others have said, it's really down to the individual instrument. As always with Fenders, if you can, try before you buy. One will stand out as the bass for you. As for the price/quality difference between the Road Worn Vintera and the Squier, the latter have been consistent for a long time, but the Mexican Vintera II models have really upped in quality over the last few years. We're living in a world now where an American Professional II (originally the entry level USA bass) costs nearly £2000, so the Vintera II range looks and feels like a comparative bargain. I'd also have a look at the new 'American Professional Classic' range. They look very good for the money & the new 'Coastline' pickups are a retune of the Pure Vintage series, which always sound fantastic.

The protection in the EV speaker made me think of the inverter drive I use on one of my lathes. It models the thermal performance of the motor and reduces power to avoid overheating which actually means you can abuse the motor safely (e.g. running it slow which means reduced airflow and more heating) . Applying such a model to class d amps/speakers should be easy and effective.

That's a very distinctive looking bass. Mayones are often deceptively good and usually punch well above their price point. Congrats!

Individual guitars should be judged on their own qualities as you can get great and not so great versions of the same thing. The classic vibes are generally really good, but the vintera should be better…better woods, nicer finishing, better electrics, tone, and if it’s important to you, more period accurate aesthetics. The aged/roadworn/relic’d thing is something you either like or dislike, but you won’t get it on a squier unless it’s a used one that’s had a really tough paper round. That said, it’s certainly the law of diminishing returns…it ‘should’ be better, but is it £800 better? As others have said, proof is in the pudding; give them both a try.

I think it depends on the bands . You can buy Rush beer , Metallica Turntables , Box Set after box set , coffee table books , Iron maiden pinball machines etc. Plus purchasing live gig downloads along with standard fare merchandise etc. Everyhing you say is true imho but all these things would also increase their revenue. The bands not in the same bracket as kiss, bon Jovi etc would struggle a lot more I’d say ..

To be inspired to play more is all you can really ask for

No you may not! That is a beautiful bass.

Yes, that's what I thought. Lot's of details about which amplifier modules were being used and some about the drivers installed too. I started watching over a coffee break and ended up watching it through. He's not shy of saying where measurements disagree with manufacturers specs either. It's good to be sceptical but cynicism can't replace an open mind

Even as a Rick fan boy I wouldn't touch one of these.

I would put my own money on that never happening.

Don't Call Me Baby - Madison Avenue

Not sure - when we were young we would go past the guildhall and see that some group that was vaguely rocky was playing so we would just nip in and get tickets and go along, just because that is what we did - they didn't have to be favourite bands and it wasn't less convenient than going on line now, because at the time, you could absoultely guarantee that you would be down town at some point in the weekend as you would need to buy something and that is where you bought something from.

Danny - you rock! (or ‘you jazz’ but that doesn’t have the same ring) Thank you for your time in posting here, it is very much appreciated. I especially appreciate your thoughts on the #7. For me, my (aural) stumbling blocks were firmly cemented in my early heavy metal beginnings - so a minor scale is Aeolian and there is nothing else! But I’m chipping away at that concrete and your explanation of, to paraphrase, a ‘constantly variable minor’ has just cleared away a huge block. Thanks again.

There's a good chance that I'll be free to attend this, if no-one would mind me dropping in. It appears that there might be a chance to discuss EUB technique, so I could bring mine. Or a DB, but probably not both.

Gigs are the only revenue bands have these days. In the good old days tours would make a loss but the fans would buy the new album, which is where the money was made. The good thing is that bands tour continuously, to pay the gas bill. So we can see them more often.

I think what lots of you are forgetting is that one reason bands used to go on tour was as a loss leader to promote and sell a new record. Now, you make a new record as an excuse to have a tour and make some money. It's not a coincidence that gig ticket prices exploded at the same time as Spotify took off.

I’m usually a negative Nellie but I like this. Agree you’ll want to check it’s got the original pickups but looks great and if the regret is good and sympathetically done (doesn’t chop out loads of binding) it should be good for a long time.