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Roger's just looking for publicity for his new album... And he's probably right that his rock music peaked in 1971. Just means he's stuck in his own past and hasn't noticed the world moving on.

Well I've certainly got hundreds of albums in my garage that were released by my band, unfortunately they all look and sound very similar ...

Cheeky interim purchase before my ACG arrives. Cheers Jonze! This is a 2006 CIJ Mustang, always fancied one, and the wife has a couple of bass gigs (she plays a Mustang guitar), so made sense! Liking the Fiesta Red more than I thought I would, but was the right price, so don’t care either way! Cleaned up the fingerboard (needed a little TLC), fitted some La Bella Mustang Flatwounds, overall a very cool bass Si

Christ you guys are going to struggle if we have an 'R&B' thread.

I've a list of 'members' that would, in my opinion, deserve the epithet.

Have you tried offering to help carry the stuff to the car, you know, don't leave it all for her to do? I mean, don't strain yourself, obviously ...

I admittedly haven't read the interview, but it sounds like another ageing proponent of rock music doing the genre no favours at all. Like some kind of ailing Egyptian king, wanting all of the riches to be buried along with him. If rock music really did peak in the 1970s then it truly deserves to die off. But I doubt any young bands starting out in the genre would give a flying **** about Daltry's opinion on the matter. In spite of his achievements, I personally have always thought him to be a monumental...

'I grew up in total ruins': Irmin Schmidt of Can on LSD, mourning and musical adventures Should be of interest to a few of you.

No wonder i've flipping seen them. It's my mates flipping band! He flipping engineers for us too at times! What a cupid stunt I am...

The Pink Torpedos Sure I Saw them In Preston ... bit long for a band name

YES!

and also ... All Gates Open: The Story of Can by Rob Young and Irmin Schmidt – review

A folding four-panel screen/room divider, cunningly papered over on one side with a full-sized photo of the hallway wall. Open it up around the junk PA stacked up there and it'll all 'disappear'; she'll be none the wiser. Either that or a Harry Potter cloak.

I would say that 1976 was one of the finest years for rock music... Black Sabbath: Technical Ecstasy Thin Lizzy: Jailbreak Thin Lizzy: Johnny the Fox Rainbow: Rising Rush: 2112 Rush: All the World's A Stage AC/DC: High Voltage AC/DC: Dirty Deeds Done Dirt Cheap Motorhead: On Parole Peter Frampton: Frampton Comes Alive David Bowie: Station to Station Status Quo: Blue for You Led Zeppelin: Presence Led Zeppelin: The Song Remains the Same Ramones: Ramones Jethro Tull: Too Old to Rock'n'Roll: Too Young to Die! Parliament: The Clones of Dr. Funkenstein Hawkwind: Astounding Sounds, Amazing Music Funkadelic: Hardcore Jollies ZZ Top: Tejas Blondie: Blondie Amongst all the others released that year.

***NOW SOLD**** For sale : £360 (special basschatter price) this fretless CHB-1 conversion. We converted a B-Stock CHB-1 that had faulty fretwork into this fretless beauty! Only one of it's kind. Fitted with GHS Precision strings.

John Paul Jones?

Those born in the 40’s - “The best music was in the 1950’s and 60’s” Those born in the 50’s - “The best music was in the 1960’s and 70’s” Those born in the 60’s - “The best music was in the 1970’s and 80’s” Those born in the 70’s - “The best music was in the 1980’s and 90’s” Those born in the 80’s - “The best music was in the 1990’s and 00’s” - Repeat ad lib till fade.................................

Since when would anyone on the internet look for context in a quote before mouthing off?

And, of course, there's absolutely nothing wrong with being "fine with a Squier". If I played instruments pitched at the level of my playing ability then I'd probably have an Encore and, for me, the Squier would be an aspirational instrument. There is no bassline that I have ever played that couldn't have been played on a £200 bass. The reason I play a Mike Lull T5 (current retail price c.£4500 though that is WAY more than I paid for mine) is simply because I like it, well, love it to bits would be more accurate, and I CAN. "I imagine the sock placement is partly to do with easy of sitting position." And how do you know where Anthony Jackson places his socks?

Group photo of my boards. I separated the Noble+Cali because sometimes that is all I need. Or will just choose between the two fun boards depending who I am playing with.

Because like all high end basses they are different instruments made for people who want something specific that only a Fodera can give them. If you want a Wal or a Ritter or an Alembic you buy one of those and not a Fodera. If you can't get that then you are obviously not the sort of person that these basses are aimed at. If all you want is something with strings capable of playing low notes you'll probably be fine with a Squier.

Most people will have their favourite era, usually according to what age they are. So no, I don't agree with Roger Daltry.

I have kinda shared this in another post but I thought I'd share it here and go into a bit more detail: So this is my pedal board/Rig in a box, the general idea behind it is I play solo, electronic drums off backing tracks, so to gig I take this box and my bass, that's it. The bass signal is split in two, a dry chain and a wet chain: Dry chain; Boss TU -> AROMA ABL-5 Mini Bass Limiter -> Behringer Xenyx Mixer Wet Chain; Boss TU-> Digitech Bass Whammy -> Morley Bass Wah -> Palmer Depressor (Hidden under the shelf) -> Big Muff Pi Nano -> TC Ditto (this changes in and out, just here for fun/practice at the mo, I'm going to have a nice envelope filter here at some point) -> NUX Time Core -> ISP Decimator (again under the shelf) -> Donner Volume Pedal -> DHA-VT1 Bass Driver D.I. -> Behringer Xenyx Mixer Then there's my TC Helicon Create XT for my vocal processing and my lenovo tab 7 that's running my backing/click tracks. I have live mix-downs of my tracks where the drums are panned hard left and the click hard right, so I send the left out to the mixer and the click to my in-ear monitor amp (the little black box behind the mixer). I send a mono full mix to the front of house that they treat like they're playing a CD through the PA (I send it at mic level -20 dB peak so I can run through a D.I., the stage box or whatever they're working with without clipping anything). My in-ears are hard wired and I get a full mix plus click, no amp, no fuss, set up in 1 min flat. I'm very happy with/proud of it.

Thought I'd start a thread on my next builds, a pair of Les Paul like basses or my take on them. They will be made entirely from quarter sawn African Mahogany (FSC sourced) painted black nitro and both using Rocklite finger boards, one in Ebano and the other in Sunadri or ebony and Indian Rosewood substitutes. Other items to be used will be Mojo Thunderbird pickups for at least one of them, dual action truss rods, Warwick 2 piece bridge and Hipshot ultralite tuners. There will be mother of pearl inlays on the fingerboard and headstock along with Rocklite Ebano veneers. I'm not in any great hurry to finish these so i may take a while but so far other than buy some bits I have started wood preparation. The neck laminates have been ripped and stacked and will be left for a while to relieve stresses, the body timbers have been rough planed to an oversize dimension again to allow it to settle a little before planing to size and gluing together. So they are currently sat resting on top of my bench until I'm ready to plane the neck laminates and glue them. As that seems a very poor start let me introduce you to my tiny workshop and a basic list of what's in it Most importantly my bench, 10" Saw bench, 14" band saw, 10" planer thicknesser, router table, drill press, 12" disc sander, oscillating bobbin sander. Beyond that there are power tools, loads of hand tools hidden away and a dedicated sharpening station tucked away in the corner behind the bench. Being so small it's very difficult to keep clean and tidy so I apologise for the dust and the mess

That's nice.

or a band name?

I read an interview with John Lennon some time ago about the time they went to meet Elvis. He said that they were ushered into a room and Elvis was sat on the couch with his feet up playing a bass, made me think of that famous picture with a similar image. He also said they were bricking it going to meet their hero but it turned out that Elvis was bricking it too meeting the new thing; just goes to show, they were all as human as the rest of us

Whatever the hiding place was you got the PA out of, just put your missus back in it. Job done!

Inflatable PA speakers?

Good film that Hiram.

I agree to the profanity filter to make the forum more inclusive to budding impressionable teenagers, but I also doff my cap in admiration to whomever edits the filter. The one that replaces the current hot topic involving cold air precipitation when describing someone who has less hardened views than you always makes me laugh. I think that was Dad....

Oh I like this one! It's already given me some cool lyric Ideas; "I've got 9 lives, 9 chances to die, 8 to waste and 1 to say goodbye." that might have to be the chorus hook but I'm not sure... I also quite like; "Look out in the blackout, chaos is order when mapped out, full bore call it flat out, so breath deep before you lash out." not sure though, I'll get on it this weekend and see what happens.

Hmmmm...Hunky Dory, LA Woman, Led Zep IV, Fragile, Aqualung, Master Of Reality (Paranoid and Black Sabbath were still in the charts), then for the non-rock-fan there's Curtis Live, What's Going On, Surf's Up, Joni's Blue, The Allmans at Fillmore East, Shaft, Bryter Layter. Whilst I fully agree Mr Daltrey is hitching his latest project onto a controversial statement, outside of the pop field there was an enormous amount going on in 1971... I think picking the top of the pops in any year can ruin its credibility...look at '78: in the midst of the Punk Revolution(tm), Paul McCartney spent nine weeks at number one, and Boney M's Brown Girl In The Ring was the biggest selling single of the year...

. . . . and another 30% if they moved production to China, but why would they want to do that? Their business model works. The company appears to be very successful in making high quality hand made custom bass guitars. They probably have a waiting list of several years so why change anything? The original question is naive. Why do Montblanc pens cost more than a Bic, why do Bentleys cost more than Dacias and why did Abramovich pay £340,000,000 for his boat when he could have been messing about on the water in a Bestway Lite-Rapide X2 for £140? I understand that people can love McDonalds rather than steak but why would McDonalds lovers think they have a point in questioning the existence of steak and the people who want to eat it?

A peak implies "the best". As it's entirely subjective, and he's basically saying that The 1971 Who album was that peak, all we can infer from his comments is that he misplaced his rose tinted specs up his own backside.

Now that would work for me, Mike.

Lovely looking bass, I nearly bought one myself because I was looking for one with an adjustable bridge. I'm sure it sounds as good as it looks, enjoy!

Overlooking 1971, some people have claimed February 3, 1959 as the turning point.

So I got myself an amp. Nothing spectacular but managed to get a Line6 LD400 2x10 combo with the FBV footswitch for £160. In great condition. Never played a gig as a bassist, done 300+ as a guitarist so if this thing does me well and the bass playing takes off then I’ll think about upgrading. Was happy to go with Line6 as I’ve had a Spider Valve 112 combo for years and it’s never let me down and I’ve got some great tones from it. I’m also a fan of their recording interfaces and PODFarm software. I’ve also got a EHX Battalion pedal on the way. I like the options on the pedal, especially the overdrive blend feature. So can keep the clean tone running at the same time.

Being a Signature model, it's made the way the player intended it, so you have to accept it, just like for each and every Signature model. Real Signature models are supposed to have been thought down to every single detail. If you play sitted, the side jack mounted is a pity, so a front mounting one makes big sense. I had an exact clone of #9 AJ6 made by Polish luthier Langowski and it was a killer bass, can't imagine the sound of the original... Or yes, I can by simply listening to Anthony Jackson (try anything with Hiromi and you'll understand what mastering an instrument and music means). My recently ordered Leduc U-Basse 6 strings fretless will be passive with only a balance for the original Q-Tuner first version pickups and nothing else. It will have the Leduc rear mounted output jack, which is the best place to put it, playing sitted or jumping everywhere. And Hugues is a great seller too !

Great cab, other than the attenuator control knob falling off during a gig (readily available/replaceable part) it serves me well through numerous gig and rehearsal situations. It can handle volume, holding its own within a 4 piece and was the only cab I had that really brought out the best in a (personally disappointing) Mesa D800 I had. The physical size and handle placement are impressively thought out, awkward spaces and stairwells are a breeze. I’m selling it - which is no slight on the unit in any way, - as I purchased 2 new Mark Bass 112 Ninjas dirt cheap and use these as my ‘rough and tumble’ regular rig. I’ve recently vowed not to keep masses of gear I’m not using, so it’s for sale...(or px for anything of interest). That said, I still use the cab regularly, it’s 1st call in rehearsal situation and I’m in no real rush to sell.

I'm the seller of the AJ6... If you want to try it... it's possible in the North of France... It's an expensive bass but it's a exceptional bass.... Trade with a bass + cash is possible... And I'm a very good seller...

Anyone else interested, can get a brand new air brush from Aldi for £65 https://www.aldi.co.uk/workzone-airbrush-compressor/p/083261211637200

Fleet (Hampshire) A bit of a departure, this one. Week #1 DDD is the singer who wants to put together an Elvis Presley / Buddy Holly band. Now I've been here before, and I know (from bitter experience) that you can't put together the band and then look for Elvis ... a bit cart-before-the-horse that way. So here I am with the Elvis I need, he already has a drummer, I play bass, all we need is a guitarist, how difficult can this be? DDD says "let's catch up after Easter". I ask him for some YouTube of his own performance. Week #2 DDD sends me YouTube links of him fronting a serious holiday-camp-style 60s tribute act, full matching silver suits, the whole thang. There's not much of it, but he can certainly sing. He can't find a guitarist, do I know anyone? The email ping-pong continues, I suggest we meet face-to-face and have a chat over a beer, maybe even jam through some of the proposed material. Week #3 DDD wants to hook up but can't do so for a week or two. He starts copying the drummer on the emails. Have I found a guitarist yet? I'm currently chasing FIVE of the buggers. Week #4 DDD circulates a short list of a dozen songs, six each by Elvis and Buddy. I've found just one guitarist who seems to be up for this. We all agree to meet the following Friday. Week #5 My guitarist is up for it, but needs another week to prepare. Week #6 My guitarist is no longer my guitarist. He's decided to stick to bedroom widdling. At least he has a more realistic view of his abilities than most guitarists I've met. Week #7 DDD says he will try again to find a guitarist. I make supportive noises whilst quietly thinking "Game Over, move to radio silence". Week #10 (yes, 10) Things get surreal. DDD emails out of the blue - would I be interested in playing a charity gig on Sunday during the BH weekend? My reply was, and I quote: Deano can apparently bring in both a guitarist and a keyboard player. It's a MacMillans Cancer support gig at a big pub in Fleet. That's all I know. There's nothing on the Web about it and the pub is closed for refurbishment. Several days of email ping-pong follow between the three of us regarding whether or not there will be a PA, will there even be microphones, is back line provided, etc. What could possibly go wrong? Halfway through, Deano adds a fourth person to the email trail - who he? Is he a guitarist? Is he a keyboards player? Week #11 Silvie and I drive down to Fleet. We're taking no chances ... we've left the van fully loaded from Friday night's gig, with complete PA, bass rig, etc. in case we turn up to find a child's karaoke set being used as the PA. And yes, I've seen it done. At the venue we are greeted by the sound of very loud, very live music. There's a large beer garden alongside the car park, a very serious PA is in use complete with proper sound engineer, and the band before us are a professional functions band. Hmmmmmm. Whatever next. I meet the others for the first time. Deano and Roy (the drummer) are relaxed, the 'guitarist' is laid back to the point of limbo-dancing under toilet doors. I say "You're the guitarist, right?" and he replies "Actually I'm a bass player who dabbles in guitar". Oh dear. I ask him if he's worked through the set list. He says he looked at it briefly last night. "But what about the key changes and so on?", I ask him. "What key changes?", he says. Oh dear, oh dear. "Are you going to be OK?", I ask him. "I'll be fine" he says, "I can play anything, and I play harmonica too, and of course I'll sing a few of these. If I'm in doubt, I'll just copy what the other guitarist does". Oh dearie dearie me. We set up on stage and - inevitably - the layout requires me to stand between the two guitarists. In the event it probably doesn't matter, since the sound guy turns down the guitarist as soon as he hears him play. So, how did my audition go? Judge for yourselves - here's the edited highlights with all the cockups skilfully and surgically removed:

Woolly Mammoth is well-known for not liking active basses. Try the Mastotron as it has an impedance control which makes it work well with active basses.