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I've been poking around online getting more info on the bass. I found an original brass Hi Mass Bridge for sale on Reverb but the seller is asking $231 for it plus $71 for shipping and he is in Europe. So adding tax and probably tarrifs to it, would push this close to $400 so I'm going to pass on it. https://reverb.com/item/92743282-fender-precision-jazz-bass-bridge-vintage-80-s-gold-brass-ultra-rare I will probably just get a new Fender HI Mass Bridge which is about $60 and have it available in case I ever gig with the bass, so it would take 1.5 pounds off of the weight. I was able to set it up perfectly now, its got super low action and is intonated with The Claw in. I also found an interesting Ebay listing for a Tweed 1982 case. This is the exact same case that my Walnut came in. Identical. So its possible that the case is original that it came in from the factory or dealer in 82. Its mint condition, and since the rest of the bass is pretty much original including the Eveready, then the case probably is too. https://www.ebay.com/itm/227096921278?_skw=1982+precision+bass+special&itmmeta=01KBXZ8E83Y52RJGNCEZGS8WN3&hash=item34e00804be:g:dIIAAeSwFyFpIfmw&itmprp=enc%3AAQAKAAABAFkggFvd1GGDu0w3yXCmi1d%2BECoCo4LYo2FIWPBZqinhdQRzGE5DvMKUonn0kRmFb2C0ycQDb8qhlRfoD5oxLqmgtKxE4Nw9DaupqSyJV9hG0UPguoSDlI%2BnKvWhL3hFrKQ43V8YTFSHUaOQ%2FJUgG5Lc8S9GBb0ApdeC4rBPcegJTkpbHoZsjmiRAJx0P3GUXZ7Dvs1sczW%2FQYIMhfvSuy0nFB0jBY0d%2Bn%2BcB8c5kfaWMvSgQIbOfL%2BnacyVS4DxLAJb576QF17weBhL%2ByQok7J06%2Bx%2B3L6yChLjq8UvShkWEzzWK48Zs80qL4klhXt4sZMrp2lpq1Tlfz%2FSt91cpFI%3D|tkp%3ABk9SR5jkob_fZg FENDER USA 1982 REISSUE TWEED JAZZ OR PRECISION BASS CASE FIRST YEAR GOOD SHAPE Seller comment: "This case once held a blonde 1982 '57 Precision Reissue that I sold to my most famous Rock Star customer eons ago in a flight case instead. So I've had the case for over 20 years. I know it's a 1982 but you can tell by all the details that it's the Real Deal. The lighter brown leather ends and the padded leather handle are the most obvious and the super-fuzzy lining is a trademark of Fullerton-era cases. It's a great case whether you own a Precision or Jazz Reissue because it fits them both. It's also a great alternative to spending over $2000 for a real 50's tweed case and it offers better protection. The case is solid overall with no tears, a few scratches & scuffs and some soiling on the outside. The leather ends are in fine shape as are the latches, hinges and the leather handle. It has been stored dry & smoke-free all its life so there is no abhorrent smell with this one. "

First Obituary album is in standard tuning, as is a lot of Opeth's blackwater park. Eb is my favourite and is what current band uses. Adds just the right amount of menace but still sounds snappy enough. Worked for some of the greatest Stevie Wonder songs so must be good.

I'm somewhat spoilt by the fact that I have played with my two of bandmates, on and off, for over 30 years. The fact that you had to book a diary slot a week ahead sounded alarm bells for me, never mind the fact he wasn't available and didn't call you back. Now, it's perfectly possible that B has already sensed their number is up and thinks you're the person that has been tasked with doing the firing and is either in denial or making like difficult. This is why bands hire a manager. Or because, like us, they're rubbish at booking gigs.

Here is a fancy series IV Jaydee:

It's genuine, I know the guy who had it made (for his daughter, I believe). There are half-a dozen short scale JDs out there. This is one of the more plain ones. It's a Roadie II, passive and was originally cherry red. The short scale design is referred to as a series IV. PS. Roadies are part of the Supernatural range of basses too.

Blue Öyster Cull Men Without Cats Foster Pussycat LA Gunk Motley Clüe O2 The Mommies Blood, Sweat and Pears

Good afternoon, friends. I'm stopping by one last time before definitively buying the SPB4 for my noisy Steve Harris bass. Do you have any thoughts on this pickup? I saw a side-by-side comparison of the two models and found the SPB4 interesting, however, I'm a little worried about distorting the tone a bit... I've always been very satisfied with the tone of the SPB1, but, as those who read my last post know, my bass has a chronic hum problem, and I received several suggestions about changing the pickup permanently. Here in Brazil, the SPB1 is no longer available for sale. It seems to be discontinued. I only found it on eBay, but if I need to claim the warranty, I can already imagine the problem of having to return these pickups and get a refund... The best option would be the SPB4, especially because I found it at a very good price here where I live, in a reliable store, and with a much greater chance of getting an exchange if there's any problem. I'll leave a video of mine for you to evaluate the noise. It only really becomes audible at the end, however, keep in mind that there are songs with calmer parts where the noise becomes quite noticeable... that's what bothers me.

What basses have 42mm nuts, so I can see if it would suit me? EBMM Stingray 5 is 44.5mm so not them.

Damn, there isn't a band with a name including Seamen.

The Old Inn in Littlethorpe is tiny. We're used to squeezing in there so have learnt to travel as light as possible. The Stingish bass was back out. I think I prefer the simplicity of a 2-band EQ. As you can see it was a bit cramped. The night started a little bit quiet but soon got much busier. In this place we nearly always have people encroaching or knocking the mic stands as they pass by. However I can heartily recommend the fluorescent pink duck tape! It kept everyone at bay. I don't think most people consciously noticed it but it was quite amusing to see the effect.

I had a bass collected by Lenspeed when I sold it on here. The purchaser arranged it, and everything went to plan. The chap that collected was really nice and explained they do a lot of moving of expensive guitars for an auction house. If you go on their website I believe it explains prices for fully insured shipping. Probably the only company I would consider for £800 +++ instruments. Single Guitar Delivery from just £55 - Lenspeed Logistics https://share.google/qkd6eyxpC2fGs5uhX

Nah, as you will see in the whisky thread, I've been lagging behind with that. But yes, I was rather inebriated on Friday night.

As a drummer, the notion of Rhythm is fundamental; melody and chords are there, but it's not the principal role of the percussion section, usually. Simple notions, such as changing to half-time, or the opposite, doubling the beat, can be very effective, or exchanging snare and bass drum, the 'one' on the snare, bass drum on the back-beat. Much more influence on style can be had by using 'claves' (rhythms...) from other idioms than pop rock. 'White Rabbit', for instance, starts off with a 'tango' feel, Police borrowed extensively from reggae and ska sources. Old-school jive beats are good for getting folk up and dancing, as are alternative rhythms such as 6/8 or 2/4. In fact, a great deal of music aimed at Dance has brought about a very wide range, from afro-beats to calypso, samba to polka, jazzy waltz to bossa nova and so many more. This makes it, for me, all the more sad when I come across straight disco beat lead-foot bass drum EDM. There are exceptions, but there is so much more than that. Cross-culture is a boon, so taking elements from elsewhere and adapting them to the occasion brings oodles of interest to an alert rhythm section (including, naturally, the bass...), and can bring a sparkle to an evening and a spring to the dancers' steps. Well worth exploring, I say. Just my tuppence-worth.

Nothing to do with bingeing the advent calendar? 😁

Last night (just), played with Nine Lives at the Pittendrum Bar in Sandhaven - a wee villiage near Fraserburgh. Unfortunately, it wasn't very busy, maybe 15 folk in at the peak. The apologetic barmaid told us later on that since they had booked us, a bunch of stuff got organised in the "big smoke" of Fraserburgh which may have contributed to the lack of bodies. It was probably for the best, because I was far from my best. Having had only 4 hours sleep and basically waking up to go to the gig (work's Christmas do the night before - don't ask), I was so tired that as well as making a few pretty horrible flubs, I forgot to hook up my extension cab - did the whole gig with just the 250W combo and single speaker. Didn't even notice until packing up time when I couldn't figure out where my speakon>speakon cable had gone. Bloody hell. This dopey so-and-so played the Neep One followed by the DeArmond Jetstar (the wonky boi) into a single Markbass CMD combo sitting on top of a completely ornamental New York 121 cab. FFS.

Not always. I'm thinking of Lemmy-era Hawkwind where he often carried the melody.

The Sex Pistils* *botanically correct band.

My Ding-a-ling — Dave Bartholomew

We have gone with 42mm for the SR5 necks by popular request

I have been thinking about the difference between baroque and modern rhythm music. I think (this may be a very narrow viewpoint) that the old music was more about melodic patterns, whereas we should aim to the rhythmic content and decorate it with suitable notes and sounds (I find the latter also of importance). This does not exclude melody, but still the main point is to carry the base with the drs/perc and leave the melody to the solo instruments like brass and keys. Therefore simplifying the melody may drive the song better than very ornamental playing. Overplaying, who? Me? But where are the places where I should do like in the old proverb: when in doubt, leave it out? What's the note that is not important for rhythm or melody? How to simplify my line of eights? Should I listen to the singer, or other players, or all of them? Help!

Hell's Bells - Bruford

Hell Ain't a Bad Place to Be - AC⚡DC