KK Jale

Martin is the more mature beardy gent with the swept-back hair. Various ex-Denmark St connections among the staff AFAIK, including most significantly V&R... but there is no Chris Tr*gg connection. At all.

VGB is a good place. Downstairs they keep a mid-'60s B-15 to try stuff through. This is correct behaviour. * Full disclosure: I possess both a beard and a single-speed bike. But I'm old so I don't count.

Money no object??? Wow. Lucky hombre. Much good advice above. First, buy some good books... Then go on a residential guitar building course, maybe like this one (South Ayrshire)... [url="https://shop.baileyguitars.co.uk/52-build-your-own-first-guitar"]https://shop.baileyg...wn-first-guitar[/url] Then do one all by yourself, but use proper plans at first, maybe follow the Kinkade acoustic book... [url="http://www.kinkadeguitars.co.uk/the-book"]http://www.kinkadegu....co.uk/the-book[/url] Long road ahead... but great fun... I'm ex-Newark School of Violin Making and was then apprenticed to a fine guitar builder for a year or so... and to touch momentarily on the finances, I worked pretty much entirely for free during that time and consider it to have been a very fair deal Good luck!

[quote name='Hobbayne' timestamp='1420325905' post='2648199'] This is a good read. [url="http://www.philbrodieband.com/muso_james_jamerson-funk-machine.htm"]http://www.philbrodi...unk-machine.htm[/url] [/quote] The Funk Machine mystery is a bit odd. As far as I can make out, Jamerson owned four Precision basses: a black '50s, an unknown sunburst generally referred to as "early sixties", a second sunburst '62 or '63, and a sunburst '65/'66 (the one in the 1976 Guitar Player interview photograph… transition logo, very patterned pickguard). All of these seem to have been stolen or lost, then replaced by the next. The bass in the most famous (mid-'60s?) Jamerson photo - the one which pops up on google right away - has presumably a big claim to be the Funk Machine as that would tie in with the timeline of the greatest Motown recordings. That's the one with the chipped pickguard tip, and it is either #2 or #3… impossible to tell which, IMO. Trouble is, the link above states the 'Funk Machine' bass with 'funk' carved into the neck heel was stolen in the early '80s, days before his death. That surely would make the FM the '65. But... Bob Babbitt said the true FM was stolen LONG before, in Detroit, before JJ even moved to California, where he eventually passed away. That would make the FM either #2 or #3. Unless he kept the '62 FM... and bought a spare. But somehow I don't see JJ as a spare bass kind of guy. Something doesn't add up. Lot of people looking for it, though

Yep, see here https://www.facebook.com/wmazolewski/posts/513179762084561 at 1:14.

Looks like a Rob Allen.

Zoomed through it slightly pishedly after last night's gig. Paloma and Sheeran... I'm not a fan of either. Fast forward, fast forward. Ellie Golding: STOP DOING THAT STUPID HICCUP AND THAT STUPID INTAKE OF BREATH. STOP IT. NOW. Ahem. Sorry. Nutini is pretty awesome and I would love to see him live but I can't help thinking that it's a triumph of arranging over actual content. Wilko - marvellous as ever to see him and NW-R. I thought the drummer was a bit pants, but hey-ho. Ronnie Spector is slightly worrying, but she's 71 for gawd's sake. I rather enjoyed it, and Be My Baby is one of the top 10 singles of all time (so shoot me). Ms Stone... no. I find it all very overblown and fake I'm afraid. But I liked her, um, dress. Oops. William Bell: top man. Bravo. Top prize: Boz Scaggs. Just how flipping great is Lido Shuffle? Then I went to bed.

I'm depping for a mate in a harmony pop band doing a hilarious bunch of about 40 wall-to-wall 60s classics. Not sure what the money will be, but it'll be more than usual. It's a very silly local pub and the set includes Pleasant Valley Sunday and Wichita Lineman... what's not to love

Mr Beer is quite correct with the Aria/Epi similarity. I'm going to guess it was badged as a Commodore. Could be wrong though

10 out of 10, would read again

If I played with a pick in a loud, loud band, I'd consider a spare bass always... Equally, on any massive gig or any pro tour (pffff! As if), then for sure. But that's not my level, so I take strings, at least two spare leads (one 20-footer) and a preamp/DI stuffed in my amp carry box. Haven't needed any of them in years, but IMO it pays to be on the slightly fanatical side about leads and jack sockets, which I am

Keeping an eye out in S London for you mate

Good story, that sounds like Vernon. He's a cool guy, super bright and articulate. I took him vintage camera shopping once... I know nothing about cameras.

Not sure what kind of pot shafts you have, but there's these (though showing out of stock at the mo)... http://www.wdmusic.co.uk/tele-chrome-flat-top-knob-usa-fit-2392-p.asp Maybe google "lightweight Tele knobs" for a few more ideas?

Nope, it seems absolutely fine, though I've only played through a practice amp since putting them on. There would have to be a real problem for me to ever take these off, the improved balance makes SUCH a great difference.

Acoustically I don't mind it but the jury's still out as I'm in a gig-less spell for another couple of weeks. How are you getting on with yours?

Nor have I! But original JV tuners should be nickel, no? Top, eBay bass; bottom, one of mine. Very different lighting, obviously... [URL=http://smg.photobucket.com/user/transalp1998/media/aatuners2_zpscbb906c7.jpg.html][IMG]http://img.photobucket.com/albums/v348/transalp1998/aatuners2_zpscbb906c7.jpg[/IMG][/URL]

Tuner corrosion typical IMO. String tree and strap buttons matching. Lo-res pics could hide faint grain on body. Cutaway has router hump, lip shape is perfect. Shiny neck plate... not impossible, I could snap mine to look the same, and the font is spot on. Guard looks 83-ish. I don't see anything really wrong, Schaller and pickup aside.

[color=#282828][font=helvetica, arial, sans-serif]1. How long have you been playing your instrument? [b]40 years... ish. [/b][/font][/color] [color=#282828][font=helvetica, arial, sans-serif]2. Do you use an electronic tuner? If yes which model? [b]Sonic Research ST200, Boss TU12 for back up[/b][/font][/color] [color=#282828][font=helvetica, arial, sans-serif]3. Do you tune by ear or electronic tuner? [b]Both[/b][/font][/color] [color=#282828][font=helvetica, arial, sans-serif]4. If by ear how do you go about? [b]On guitar, usually by comparing simple chords; bass, just kinda playing root/7th fret octaves. If trying to be accurate with guitar, I use a version of this method - [/b][/font][/color][b]http://www.ryanguitars.com/GuitarTech-Tuning.html [/b] [color=#282828][font=helvetica, arial, sans-serif]5. Are you always 100% happy with your tuning? [b]Not always[/b][/font][/color] [color=#282828][font=helvetica, arial, sans-serif]6. Why are you not happy with your tuning? [b]Generally not happy only on acoustics with intonation problems[/b][/font][/color] [color=#282828][font=helvetica, arial, sans-serif]7. What disturbs you about the electronic tuner [b]Nothing much... apart from the danger of reliance[/b][/font][/color] [color=#282828][font=helvetica, arial, sans-serif]8. Do you know how to tune by ear? [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]9. What is your preferred tuning method? [b]Live, electronic. Home, ear. [/b][/font][/color]

[quote name='datainadequate' timestamp='1417004639' post='2615924'] ...especially to hear that the LR Baggs might have some downsides. [/quote] Hmm, I may have been a touch harsh. I do like the M1 for solo stuff. Once though I was in a trio and the other guitarist had a Rare Earth bucker, and eight out of 10 times in walk-up situations - open mics, folk nights, never a soundcheck, that stuff - he kicked my arse. I crumbled, and moved over in self-defense. M1 possibly has a more silvery, acoustic-ish sound but in those situations the Fishman was just A Bigger Knife (see Croc Dundee).

[color=#00000F][font=Merriweather, serif][size=4] [size=4][font=tahoma,geneva,sans-serif]I've tried a few.[/font][/size][/size][/font][/color][color=#00000F][font=Merriweather, serif][size=4] [size=4][font=tahoma,geneva,sans-serif]Fishman Neo-D – got one for my godson, simple, actually pretty good, scores 7/10 cos it's cheap Fishman Rare Earth humbucker – currently have one, a bit expensive and slightly lower-middy but reliable and EQ-able, 8/10. Never tried the single coil LR Baggs M1 - available active or passive (latter needs external preamp), toppy, slightly Stratty-sounding to me, picks up soundboard vibration and can click when you hit it with a pick, needs to be hung carefully so pickup sides don't touch soundhole, loved mine at first, don't anymore 6/10 DiMarzio - mostly not much cop but discontinued DP-139 is ace, 8/10. Angel model maybe worth a look Dean Markley - pretty average, 5/10 Shadow, Seymour Duncan: haven't tried any Sunrise – heavy, expensive, needs own preamp, not very acoustic-y, I like 'em but hey... 7/10 Fishman Blackstack, copy of Sunrise, heavy and electric-sounding 5/10 [/font][/size][/size][/font][/color][color=#00000F][font=Merriweather, serif][size=4] [size=4][font=tahoma,geneva,sans-serif]Naturally all just my opinion... hope this helps.[/font][/size][/size][/font][/color]

Never seen a hologram at a gig, but I did once go to a very weird Elvis concert/tribute which featured the original band (James Burton etc) plus Elvis on a massive video screen plus his original vocals. Hey, I had a free ticket Kinda a technological precursor to the hologram idea, so maybe relevant to research...

By the way Blue, I find your stated refusal to participate in band funds perplexing. The bands I'm with don't have a fund, but there is a small float (mostly gig money from awkward payment splits kept aside for band emergencies). But if there is a band fund, with an agreed purpose, with a realistic timescale - demo costs, PA upkeep, for instance - what's wrong with that?

I sympathise with some of the original list. One problem right now with (both) of the working bands I'm in is… material. To be clear, both bands I'm mostly in combine original (very good) songs with carefully selected, fairly obscure covers. To my mind, a band that CAN do covers and has one or more songwriters should be generating a fresh 45 minute set EVERY year, minimum. Both for the audience, and the band. But it's not happening. I can bring song suggestions to the band, and I do try, but it's always, always down to the singer. I respect that… they have to sing them. I know what that feels like. It's not a job I do nowadays. The other problem is the bands I'm in, everybody's genuinely good. They can all busk it, always, perfectly, and with flair. Basically, nobody ever rehearses. But when it comes to the next level, arranging, fine tuning, working out BVs, it almost never happens. In this scene, it's not cool. It's hard to describe the level of skill and cynicism I'm working with.

The version of Sunshine… was good. Back up was from ace folk combo Lau. Jack seemed to have an appreciative grin at accordionist Martin Green's improv.