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The two headless 5s are beautiful, and the white one sounds great in the earlier clip.

My Perfect Cousin - The Undertones

so why not keep the name??

I just put one in the shopping basket and it adds $300 shipping. I wonder if that includes the UK VAT at 20%. Did he say?? $799 for a short scale. So $300 for shipping alone seems quite a lot! Import duty itself is only 2% I think.

Rust

Myself and the other band members use SetlistPro. You can enter in the song details directly or, as we do, import .pdf files.

Hello, sharing some of my DTC basess.

Indeed. Imagine our shock recently when we returned busted Camera boards to Panasonic UK to be repaired only to find our boards( confirmed by serial number check) contained fake CAPS in them. Apparently they’d sub contracted out our boards to a third party to service and when they came back the Panasonic caps were not real Panasonic parts…they lasted three months

I went over to in ears in Church yesterday morning. All the singers were astonished and loved it. Super frustrating that yours is intransigent. I also took my new Eich Bass Board. Deep, deep joy.

He sure was, I believe he and Rob used to buy lots of things off Ebay and make basses. I tried about 3 or 4 of his basses at The Gallery but nothing that I really wanted. I would love to have owned his black Fender Japan Power Jazz bass he played on some of the Simple Minds stuff. I would love to know what happened to it along with his natural Stingray. This is what Rob posted on Facebook back when John passed. "I’m sorry to say my dad passed away on May 14th 2023. He was an amazing man - genuine, charming and an utterly uplifting presence and it’s really heartbreaking that we won’t get to hang again. He burned brightly and departed elegantly, leaving a deep impression on all he met. John Giblin was also an incredible bassist and I wanted to use this post to pay a small tribute as he played an enormous part in influencing my playing, but his compassion and his character overshadow his music. He spent a lot of time looking after his good friend John Martyn in his final years. Kate Bush has some lovely words to say about John - “Everyone loved John. He was a really beautiful man in every sense of the word. Everybody wanted to work with him because he was such a great talent and everyone wanted to be his friend because he was such a wonderful person. I loved John so very much. He was one of my very dearest and closest friends for over forty years. We were always there for each other. He was very special. I loved working with him, not just because he was such an extraordinary musician but because he was always huge amounts of fun. We would often laugh so much that we had to just give in to it and sit and roar with laughter for a while. He loved to be pushed in a musical context, and it was really exciting to feel him cross that line and find incredibly gorgeous musical phrases that were only there for him. He would really sing. It was such a joy and an inspiration to see where he could take it. We’ve all lost a great man, an unmatchable musician and I’ve lost my very special friend. My world will never be the same again without him.” I only met John in later life but we instantly hit it off. Our views on music and all else were strangely aligned. He remains the only person I totally trusted on matters of bass tone and we enjoyed rummaging through ebay instruments even on our last chat. His style was rooted in soul and pop and he always had impeccable time and a real melodic ear, taking influence from Eberhard Weber as much as Jamerson and Jaco, he acheived the holy grail of establishing a unique voice whilst nailing all the attributes of a tasteful, grounding bass role. Phil Collins would rely on him to make a solid soulful rhythm section, while John Martyn would bring out a fluid and bluesy style coming more from his jazz influences. Peter Gabriel allowed John to stretch out melodically and Babooshka would never have been the masterpiece that it is without the beautiful fretless parts he imparted. Meanwhile check out the unique way he uses a delay pedal to bring a rhythmic excitement on Ghostdancing (live) with Simple Minds or his distinctive tone with british fusion pioneers Brand X. I made a little playlist of some of my favourite tracks. It’s by no means exhaustive, as he was a first call sessioneer for so many top artists. He wasn’t inclined to fill out a PPL form either so many of his works are quite difficult to identify! https://tinyurl.com/29a5d7xy I’m sure I missed some gems, so do let me know... Miss you dad"

The guitar demos tend to go from subtle shimmer, to all out madness when you blend the two sides together. I’m very interested in how that relates to bass!

Naked cousin. PJ Harvey

Ah is that right? I only heard of John Giblin after he passed and some of his gear ended up in The Gallery. I tried one of his old Lakland 5 strings. Apparently he was quite the tinkerer.

Out of curiosity, I picked up a very cheap second-hand mini electric: Which is one of these, minus the amp and accessories: https://www.smythstoys.com/uk/en-gb/toys/arts-crafts-and-music/musical-instruments-and-karaoke/musical-instruments/80cm-electric-guitar-with-amp/p/110724. 19 3/4" scale, which makes it somewhere around 80% sized. The bridge was not only off-centre, but also too way close to the neck - hopelessly out of tune with itself, and impossible to intonate. I feel sorry for any child that owned this before me, and for anyone who had to listen to them attempting to get a tune out of it! So I moved the bridge position to the correct spot, and also shortened some of the intonation screws so that the saddles could be moved back far enough without the screws blocking the path of the strings. Put some 11-49 strings on to compensate for the short scale, and it tunes up and plays okay. It needs to be fretted with a light touch due to the low string tension; it's possible these things were intended to be tuned higher than E standard, although there's no mention of that on the product page. The nut is definitely a bit tall, but it's not glued in so that should be easy enough to fix when I get round to it. The neck was unfinished and fairly rough, so that got a good sanding. The frets needed polishing, and although there were no protruding sharp ends, they were a bit blocky and needed a rub down. Paintwork is fine. Tuners are slightly stiff but perfectly functional. The volume pot works. I fully expected the bridge to have no ground wire, but I was wrong. No shielding paint inside. The pickup was probably ok, but I swapped it for a cheap rail humbucker to head off any noise. I've played plenty of cheap Squiers and the like, and they've all been great - this thing is in another category altogether. The fact that there's a cut-out for the bridge in the scratchplate that is even further away from where it's supposed to be tells you something about the attention to detail. But attempting to rescue it was a fun, low-stakes project - and my nephew had a blast bashing away at it through a cranked amp! 😁 I wouldn't recommend buying one of these unless you can find one dirt cheap and you're prepared to work to make it playable.

Nobody's Perfect - Xentrix

It depends on the design and the timber.

Boy Orbison Roy George

I’m sure it’ll come, though will look a bit different from here and be closer in appearance to the phaser: https://www.matrixsynth.com/2023/03/behringer-introduces-new-moogerfooger.html?m=1

Some of the best lines in the world are simple and just delivered well. And if you can do that then all listeners and musicians and virtuosos will applaud you. That's the joy of it, it doesn't matter how good you are you can still do something epic.