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So, today on the way home from a work trip I met a chap that sold me an amp... That amp was a Marshall VBA400 with a Jubilee 410 and 115. The cabs have seen better days, cosmetically they have their war wounds, but the work a treat! The amp has a few tiny little marks, but would probably rank 8.5 out of 10 for condition. Just lugged this colossus down to the garden studio some 300ft away from the driveway (yes, my spine is now dust) and set it up. It's quite monstrous... it's current set at about one quarter volume and gain and its still making my ears bleed. Given it has 8 KT88 valves powering it I shouldn't be too surprised. Pumps out +400w of glorious Marshall valve bass goodness! Given I play 6 string bass, and mostly prefer a more HiFi sound, I am pleasantly surprised that the 'bright' button really does hit the mark for me. Been lusting after one of these for probably 20 years! Happy to now have one and not be disappointed.

Remember boys and girls: When the fun stops, buy another bass.

Last weekend I got a call at 3:30 if I had something to do that night. I didn't. So I got a bunch of chord sheets and did a Bruce Springsteen tribute show with no preparation. Brought the 1970 Jazz and CS 64 Jazz. Pretty satisfied.

Oh eff off ebay!

Hello folks. Name's Ben. I've been playing since I was 16 or so, and I'm getting alarmingly close to 40 now. I have never been a touring or regularly gigging musician, though I have had periods of playing live fairly frequently and have been in many, many of those sorts of bands that rehearse for months and then fall apart without playing a gig because everyone's too busy. My formative bass influences were, as is probably pretty ordinary for my generation, Flea and Stuart Zender, with a bit of Matt Freeman and Mike Dirnt thrown in. More recent years have seen me gravitate towards the work of the old masters, studying the ways of Jamerson, Dunn and Rainey. I've always kept my stable of basses to no more than two – a fretted and a fretless, though the roster has changed a few times. The fretted list starts with the family heirloom Gibson EB-3 that I learned on, then an OLP Stingray copy (see the note about Flea), a Yamaha BB604, a Squier VM Jazz, and finally a thing I made myself. My fretless basses have been a mysterious 1980s Yamaha I got from a pawnbroker, a Warwick Corvette, and finally another weird headless custom of my own design. My amps have been many and various, but these days I rock a Markbass head and a stupidly heavy 1x10 cab I made myself. My effects consist of the traditional bass player tuner>compressor>overdrive. In addition to electric bass, I also have an upright bass (that I got for free and can't really play very well), various guitars, a banjo and a mandolin (which I think of as a tiny bass strung backwards). I'm at the stage of life where old bandmates from days of yore are getting bored with parenting, and deciding that maybe they want to get a band together and play Steely Dan covers in the pub. Which means I'm starting to get called on again.

Your username makes this opinion not particularly surprising to me

Sustain Alive - The Bee Gees

I just bought and returned a Fender American Pro 2 P5. While not the point I intend to make, the Fender had terrible QC issues. I’ve had many new Fenders that have been great, but, sharp frets, a neck pocket that was horribly cut and finished, 3.3mm action at the 20th fret with bottomed out saddles… it was an awful example. A P35 has been my bass of choice for a while. Sound wise, I had chance to play them b2b, through my own amp at my leisure. I love P basses, I’ve had 8, old to new, flats and rounds and they’ve been great. But, the BBP35’s approximation of a P bass are as pleasing. It’s more ‘modern’, tighter lows and a clearer, snappier high end. Probably more scooped than the traditional low mid push. But, the BB with the P solo’d is a P bass alright, and the tone knob takes some of that and pulls it back to the more recognised P bass tone. I only just roll in the bridge single 20% or so most of the time, but it gives something I missed on the Fender and brings so much to the table to make it a truly versatile instrument, rather than the one (albeit, awesome) trick pony. I don’t want to write Fender off on one bad example here, especially as I’ve had some great ones, but Yamahas attention to detail is faultless. The BB is just such a workhorse, it’s not the most thrilling, fancy looking, but is a proper solid gigging bass. I’d sold it to a mate, eager to get back to my roots with a P bass and scratch the itch that is comfort induced boredom. Thankfully he agreed to call off the sale. Turns out the grass wasn’t greener.

The problem with playing music with the intention of earning money to be able to live off, is that unless you are very lucky you will need to take pretty much any gig that is offered. That will normally mean playing music you don't like in dodgy places with people you don't really get on with. I've said before I do something creative for my day job - graphic design - and while I would love to be able to spend all my time working for one or two clients who are keen on cutting-edge designs and think everything I do is fantastic first time around, the reality is that most of what I do is an exercise in trying to get the logo, the product shot and the USPs as big as possible without it looking too horrible, for people who wouldn't know what good design was if it slapped them around the face. Because what I do earns me enough money to live and have some fun, I put up with it. If a client wants something that I think is seriously wrong/bad, I'll politely suggest what I think would work better, but only once and if I'm over-ruled then the client gets exactly what they have asked for. However I like music too much to treat it in the same way. Having to treat playing music in the same way as I treat my design job, would mostly likely kill off any interest I have in playing or composing. No wonder the "giving up" thread is so busy!

Here’s a couple

My local music shop have had this in for a few months and I finally had the time to pop in on Saturday and couldn't help myself. The previous owner bought it new and had it defretted (which is probably why it's been in its case for most of the time) - it has just been refretted. Other than a refinish, it's all original and is in great condition apart from a few dings. It's a high quality instrument with the original case, tools and manual! Not lightweight at ~4.5kg but it sounds great and like a more focussed P to my ears. It just needs setting up to my preferences and I need to make the difficult decision of flats or rounds...

Leo probably got a batch of them at a good price and used them everywhere until the box emptied. We eulogise various aspects of the Fender story, when the reality was that they were just making a product to a price point. Am I happy that my 66J has the special machine heads (and binding and dots)? Obviously, yes

Germolene - Dolly Parton

Hi I regularly see ACG basses sold that go for more than they cost when new. So not always the risk you think but I get the point you are making in that it is not a standard format.

Fantastic! Marshall bass gear gets nowhere near enough love The VBA truly is a monster of an amp

It's no secret that I love 3-7, warm weather afternoon gigs to the more mature sophisticated crowd. Getting paid well and home by the time most guys are just getting started. Daryl

Agreed, I guess I'm lucky to be in a band that's been gigging steadily since 2007. At this time we can be very selective about what gigs we will accept . Daryl

I'm in the process of booking dates around the UK to tie in with my next album release, due in late April. It was tricky booking shows last year and it's proving even harder now. The loss over the last few years of many venues that catered for the music I'm involved with has certainly had a big effect. Getting back into EU countries to play some shows is now a complete pipe dream as well. However I not overly pessimistic about this. I've just had to accept the reality of playing live less. I had mused with the idea of joining a band or ensemble to satisfy my desire to play live as much as possible, but realised I'd rather concentrate even more on my own music and make those fewer shows even better.

Good.

These are getting popular - always amazes me how many people will turn out on a Sunday, but freaks me out returning from a gig - on the road by 9pm, as my SO said on sunday "this is usually when we are going out!"

There will be times when you won't want to bother, but I'd approach it with the attitude that it's better to have the capability and not need it than to need the capability and not have it. That mainly falls on the mixer.

Oh, I don't know..... maybe some nice Slayer 'Reign In Blood' might compliment a 'carvery'

My best two gigs for 2024 are both Sunday daytime. Timing, playing to our target audience and both good payers! Perfect! Balances out the others...

Leader of the pack(age) - The Shangri-las

As for @casapete, I’ve seen the Sunday afternoon gig grow scene grow in the last 5 years. There are four pub venues doing it around my small town. None of them ‘food’ pubs, either. The Flowerpot, generally Americana, blues or folk. The Smithfield, exclusively heavy rock or metal, (no housing nearby 😆). The Crossroads Tavern, generally covers bands. The King William, usually acoustic acts. Having played Sunday afternoons at two of them my experience is that pay rates are lower than an evening slot. However, there’s a balance of getting home early, usually easier drive-in and parking and more sober audiences.

They are a few venues in my area who have started putting on gigs on Sunday afternoons, say 4pm to around 7 or 8pm. I’ve done a few and it seems to work well, often in pubs where they serve Sunday lunch and then put music on to keep people in afterwards. Home by 9pm does make a change!

I love mine. Gigged it last weekend for the first time in an age. I should take it out more.

There are at least two bits of relevant legislation. For distance selling, the Consumer Contracts Regulations 2013, regulation 29(1) allows you to return the item within 14 days, without a reason: "The consumer may cancel a distance or off-premises contract at any time in the cancellation period without giving any reason". The consumer pays the cost of returning the goods - but note in regulation 34(2) that the retailer's refund must include the original outbound delivery cost: "The trader must reimburse any payment for delivery received from the consumer, unless the consumer expressly chose a kind of delivery costing more than the least expensive common and generally acceptable kind of delivery offered by the trader." As for "try before you buy", the consumer is allowed "to establish the nature, characteristics and functioning of the goods", as long as it does not go beyond "the sort of handling that might reasonably be allowed in a shop". So for a bass guitar, you can unpack it and noodle about on it. But you couldn't go and do a gig with it. Separately, whether for distance or in-person selling, the Consumer Rights Act 2015 allows the short-term right to reject goods which are not of satisfactory quality, or unfit for purpose (e.g. faulty goods). The time limit for that is given in section 22(3): "The time limit for exercising the short-term right to reject is the end of 30 days [...]". In addition, the trader must pay for the return of the goods - section 20(8): "the trader must bear any reasonable costs of returning them [the rejected goods]". It's important for both the consumer and retailer to know why you are returning the goods. For example, if the goods arrive faulty but you simply return them as unwanted (under the Consumer Contracts Regulations 2013) or without giving any reason, then when the retailer receives the faulty item back they will likely claim you damaged it and are therefore liable. Finally, a reminder that any retailer's own T&C cannot overrule the above legislations. So if the retailer's website clearly states "No returns" or "10% restocking fee applies", these things are not enforceable since they go against your statutory rights.

Loft?! Somebody got one of these into a loft?!

I take them all off before restringing so I can give the fretboard a good clean.

They’re having you over mate. I’m assuming it was a brand new item and not sold as seen within any faults? If so, tell them to do one and get your money back. I would also very much like to know who they are so I can avoid them.

I've bought another Brian May guitar. This one is the Super. It's a little bit closer to Brian's guitar but still not an outright replica It has an enormous neck and silky smooth fingerboard for strung bending 7 pounds and 4 ounces Will be gigging it this weekend

Little birdie told me Mick had some spare knobs (oo-er missus!). Got in touch, made a deal and boom...fast post! Deal with confidence with a true basschatter! Thanks Mick!

Glue ear from the roses. EC

Hi Pete, The 3-7 action in my area is great. However it's something to get use to. It's not like a Yankee 8-12 bar gig. It's a different vibe. I personally think it's great for us in our 60s and 70s that have outgrown late night pub and bar gigs. It's seems like out of nowhere all these Winery's and Brewery's opened and started booking bands. Unfortunately many bands will be left out of these gigs. They only book acoustic and small blues, folk and Americana . Daryl

Wise people1

I think this is mostly true. It's a bit sad that the ridiculous prices and closed order book/4 year wait means that there are no (at least that I can think of) young/up and coming players playing Wals. I mean you can see younger players out there playing USA Spectors, Foderas, MTDs, Alembics, Ken Smiths, etc., professionally, but most of the new Wals I see (admittedly on Instagram so not necessarily truly representative, but it is a good indication of younger players' trends at least) seem to be going to weekend warriors of a certain age (over 50 is quite accurate) who have waited the 4/5 years (nothing against weekend warriors of certain age of course - they keep the custom builders in business). In the UK, Overwater seem to have the pro market pretty well sewn up, but go back a few years and there were plenty of players using Wals at the West End, on BBC sessions etc. (Rob Burns is one that springs to mind). Even Laurence Cottle seems to be using his GB more than his Wals these days (too valuable to play out perhaps?). This just all reinforces the stereotypes that Wals are collectors' items, antiquated etc., as you're not seeing them out there used for new music. Of course it's none of my business and Paul can do what he wants with his company, but he has really missed a trick in not finding a good quality manufacturer in Japan, South Korea or the Czech Republic (think Spector, Sadowsky, etc.) who can take up some of the manufacturing slack while still turning out a really high quality product which would get into players' hands and keep the brand alive, while keeping the UK operation as a smaller custom shop.

A newsletter from On-U Sound yesterday made me aware of Creation Rebel. So I've been listening to them:

Well if that’s the case Daryl, you’ll soon be joined by me - I’m retiring from my main band end of April. I’ll still be playing in my acoustic duo, and maybe the odd dep here and there, but my pension kicks in this week so I’ll no doubt be in a similar position to yourself! 😆 Oh, and a belated happy birthday too Daryl. 🎂🍾🎊

Who, the grumpy gits?

Current shrunken board as my band is currently drummer-less. Managed to get a good deal on a pedal train nano with a cioks Adam bolted to the underside. For the most part its just an amp modeller on the zoom with a bit of grit coming from the digbeth, but have the option to be more adventurous should the need arise! Of course as soon as a drummer appears the fuzz and the octave are coming back 🤣

Lots of companies won't refund delivery costs unless the item is faulty. I imagine this gets abused by unscrupulous consumers trying it on. I think the company are being perfectly reasonable.