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That kind of tracks with what others have said. I think the marketing is a bit off on these, putting them in the super polished range sets an expectation that Ian and La Bella were never really going for.

Sh1t Me With Your Rhythm Stick - Ian Dury

Hi I'm just finishing off my Jazz parts, Fender Jazz neck, Hipshot tuners, Bareknuckle pickups, John East Preamp and a lovely body from a luthier. Some of these bits came from @sifi2112, a true gent. Si painted the body in matt black and I really like the non gloss finish. It's really great contrasted with a white pickguard and chrome preamp. However I want to protect that matt finish. Looked up satin finishes on guitars and after wasting my time with ****'s on Reddit, I thought I'll come back and ask some sensible people here. Any suggestions what I can finish the body with but keep a subtle matt finish. Thanks Rob

I have been using the Telepath for a few months. No dropouts, syncs immediately and charge lasts well beyond a three hour gig without going into the red. I can't distinguish any noticeable differences to my tone or any latency.

Turd Uncle - Bauhaus

Having got a new drummer (cheers Bob ex of Terminal Rage!) and guitarist we're finally ready for the first gig of the year! Then on 10th August it's our 1st ever 2 gigs-in-a-day! We're on at 2100 at this Rebellion fringe event: And before that, we're playing at Rebellion at 1350:

Stool Pigeon - Kid Creole and the Coconuts

Totally agree with all this. Jazz musicians (and any improviser really) exists at the intersection of inspirational genius and absolute failure. I love playing improvised music, but the audience at a jazz gig buys into it and understand the challenges. A blues band audience probably wants the songs played the way they were on the record. Without wanting to be elitist, jazz musicians are typically operating at a higher level of musical understanding, too. Almost every problem can be solved by chatting. I auditioned for a gigging band recently and the band leader said they don’t rehearse often (err, ever) but expect me to learn the songs, play properly and not to be flakey. I can introduce some personality into parts but ultimately stick to the songs as recorded. Do that and I’ll get paid and rebooked.

I always feel an imminent gig usually concentrates players minds and gets them learning the set. That is, assuming they have a professional mindset in the first place and don't want to look like a fool and let everybody else down on the night.

Colon Feel The Noize - Slade

Haven't heard that in a while! I remember buying it for 10p in Notting Hill Record and Tape Exchange (though it was on Goldhawk Road...)

Might be nice running the AMT flat into the Linden and using the latter fur EQing.

It had been years since I've heard/seen that Duke quote. And now I've seen it twice in a week!! Jason Heath's Double Bass Blog

Great. Added that album to my library. Thanks for sharing.

I play electric bass one finger one fret as I can reach..though 1 2 4 would be more comfortable in lower positions. I play the double bass 124 with some back and forth extensions. Really, they are quite different instruments with different techniques. The only thing in common is the tuning of the strings. Technique does matter if you want to expand what you play. Lack of technique or a personally derived technique will likely limit you. It sounds tedious and snobby, I know, and there's a lass in my town who plays in "Americana" bands by just clamping her whole hand around the neck at a root note..then up a string for a 4th, down a string for a 5th.works ok .but she's kind of stuck playing only that style. Nb: that very nice " realist sound clip " pickup whilst excellent for jazz and for classical players wanting occasional amplification....probably not what you want for rockabilly. Stick it up for sale and put proceeds towards that shadow system probably.

The Larger Bowel - Rush