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Wanna D180 instead?

I was interested for a bit, even though they're an odd shape, but not at 300 Euro ea.

I appreciate I'm replying to an 'old post' and years later my comments here would be no longer applicable to Bubinga 5's original post, however coming from someone like me (who suffers terribly from GAS 😷 and owns far too many basses 😂) I would say if you have a spare 800 quid burning a hole in your pocket, don't blow it on a brand new bass at the (dare I say) cheaper end of the price spectrum. If you do, whichever bass you go for, chances are the day after you buy it it'll be worth only half of what you've paid for it. Instead spend your £800 on a decent secondhand bass from a more premium brand. Whatever you go for, always do your research. Look for what holds it's value and why. If you can, try it out first - it's amazing how much variation exists from individual bass to individual bass (I have two identical model Sire V7's and two identical model Yamaha BB's however it's surprising the difference when comparing like for like). And just make sure what you choose gives you what you really want - and you don't just choose it because you're seduced by the pretty colour of the bass (Sire are adept at this - just look at the number of times they introduce new colours to their ranges). Oh, and it goes without saying, beware inflated prices from the dealers and middle men. We all know them. Chosen well, you can get a lot of bass for £800

Youre in the right place

This might be a good discussion. It's certainly something many of you deal with. Staying booked and getting the higher caliber gigs. I have a buddy who's in a good 9 piece horn band. They might gig 5-6 times a year. Most members are professionals and play with other bands. My buddy wants more gigs but they have so many things working against them. It's hard to get 9 people together at the same time in the same place. And it's hard to pay 9 people. Their real issue is I don't think they have anyone in the band that's motivated to book the band. For some reason the agents won't touch them We're certainly not the best band around ,certainly not the most talented. However, our manager loves the business, he's networked and here's my point. People like the guy. I think that's where our booking success comes from. My position is talent is only part of the picture. We deliver a professional product and we're nice to everyone when we arrive at a gig and we're humble. I know bands that arrive with bad attitudes and drama and then they wonder why they don't get asked back. Let's hear your thoughts. Daryl

I'll be 72 in a couple of weeks. I hope I can get into a healthier lifestyle and practice more. I appreciate that since age 12 or 13 I'm still gigging. I blessed that I'm working with younger musicians. These guys are in their early 40s and motivated. They're not emotional like me, everything is strictly business. I'm more conscious about the caliber and logistics of the gigs we play. We're starting to fill up our summer schedule . I'm hoping we get some of the bigger festivals and fair gigs with big stage and big sound. Am I asking too much for a 72 year old ? Daryl

Hi all — Carlos Bass is strictly a hobby for me — no bands, no recording goals, no career angle. I’ve been playing 15+ years, but mostly on and off, pretty basic for a long time… until my own kid started playing guitar and I decided I’d better up my game so I don’t embarrass her 😄 I’m into the rabbit holes: tone, feel, ergonomics, and building/modding instruments purely for personal satisfaction. I’ve attached a photo of sume of my current lineup (I have also an spector NS 5 multiscale that I hardly use) — a small herd of 4/5 strings with a strong bias toward headless and multiscale ideas. Musically I lean rock/alt/metal, and I’m always chasing that balance between clarity, punch, and comfort under the hands. Looking forward to learning from everyone here — and if anyone wants to nerd out on setups, strings, pickups, or weird gear choices, I’m in.

We do a couple of benefits and charities every year. However they are paid corporate gigs . We have done a few non paid benefits for friends & family. Daryl

Stub, Over here you have to tip everybody for just about anything over here. Daryl

I was seriously considering buying a Mesa 400+ today via a local auction site but I exercised restraint

MTD Grendel made late 1990’s 35” scale Wenge fingerboard superb instrument

Thanks for posting that vid in the OP. I knew about the Sandberg connection but I didn't know he had a signature model. He mentions the health issues of Danny towards the start, it's good to see that Danny has been making progress in his recovery. Thunder has been making a number of album re-issues recently, I can only suppose this is because the band currently has no income because of the lack of touring, so I don't begrudge them that at all, I've even bought a few myself. Mark

My bass is a Bravewood P Style 62 bass with a nitro finish.

https://www.griffon.eu/en-en/products/griffon-contact-spray-aerosol-200-ml-nlfrde This stuff?

Would an extension lead with surge or other protection also be a sensible step to take? Any particular type you recommend?

Everywhere. It can't damage anything, and will displace any residual moisture

You're joking, aren't you? Zoom are absolutely dreadful for support once they've done the initial release and potentially a bugfix release - the MS-plus range haven't got a Windows or Android editor, and they haven't updated the effects, even though (for example) there are a load more choruses on the MS-70CDR+ than on the MS-60B+ which could obviously be ported straight across. In fact, I really don't know why I bought the MS-60B+, I've reverted to using the MS-70CDR+ as it does compression, EQ, chorus, pitch shift, and only lacks in amp models which I have finally realised I really don't care about anyway. Just looked back at the MS-60B update history, and that was four years between initial release (1.00) and the next release (2.00) which included 84 new effects. There was a bugfix two and a half years later.

I'm looking forward to hearing some sound clips!

Boost/cut/whatever - it's a great upgrade over a cheaper pre. It transformed the sound of my Sterling Sub5.

I couldn't possibly comment on this individual circumstance, but something I have learnt over the years is that charity is a business. The higher up the chain you go, the people running the show aren't so much altruists as businessmen and women. Ordinary folks are brought up to equate charity with giving for free if they want to be a nice person. Those running charities are acutely aware of that and know how to exploit it. The people who give the most proportionately are often those who can least afford it.

Standing room only at the Griff and Coton Club in Nuneaton. We were half expecting an empty room, but far from it. It seems we had drawn a few in - we overhead one woman say it's the first time she had been in the place in over 30 years! 😂 A really good crowd. It took a little while to get them dancing, but then they didn't stop. My sound was strange in the first spot, which I put down to the really low ceiling in the "stage" area and fact I wasn't on top of the amp for a change so could hear it better. However then I noticed the knobs for the mids had been knocked up accidentally. I set them back to flat and all was well in Rumble world again. Many compliments and shaking of hands afterwards. The only slight disappointment were the cheese and onion cobs - we've had better.

I've always felt it's a bit of a shame how in the UK 'blues' became synonymous with 'electric guitar' and a particular restrictive formula. I remember growing up a lot of blues jams being held to ransom by a certain type of guitarist that meant I lost interest in the genre. One in particular, where a (good) keys player was told by the guitarist/singer that he just wanted repeated 8th notes at the top, nothing else, giving the guitarist all the space for his widdling. It was seeing the big US names at successive Bishopstock festivals in the 90s that taught me how diverse and musically accommodating 'real' blues is. John Mayall was the only UK performer I remember who was near their level.

It's a dirty job, but somebody's got to do it.