Grangur

I can arange to go to that area with my work. So if you're pushed I can collect. I also have shipped basses and do have packing materials.

I would prefer to collect during the working day or early evening, if they can do that.

Cheers
Rich

Joking apart, pricing anything in this world is depending on what the market will bear. You want a good rate and for the couple not to feel ripped off.

Maybe some more info could be useful.
Are you a covers band?
What sort of stuff do you play?
How many other gigs have you played?
How regularly have you played together and for how long?
Do you have a Youtube vid or other recordings?

If you're really good £2400 each

Each punter or each Band-member?

I went there a while back and peered at the basses through the dark and the smoke-machine filled air. The room was hummed with the sound of clubbing vibes and some guy mouthed to me, "I can plug one in and you can try it if you like".

"Errr... yeah, sure", I thought, "you cut the club sound and it all changes to little me trying a bass with a few chords".
I replied, "Err.. no it's ok thanks". I left and went to the Bass Gallery and bought a "real" German Warwick.

Maybe my experiance is an example of the reason?

Hey Lankyman, if you use the "Full Editor", I think that's what it's called you can edit the thread title, so you can change the price.

Cheers
Rich

Ahh... that makes sense. Many thanks iiipopes.

It's good to know all's normal.

FWIW my bro-in-law takes his cello on the plane as hand luggage, but he does pay for it. It cost the same as a 2nd passenger. So it's not a low-cost option.

Oh, btw the pups are standard WW MECs..

Hi All,
This is, I'm sure a stoopid question that anyone on here, except me, can answer....

I've got a Warwick Streamer Stage 1 with a P-J config... see avatar.

When I turn the blend to the front, "P" pickups the sound is strong and cool. When I turn the blend to the back, "J" pup the sound is definitely quieter. Is this normal?

I can understand that the "P" pup has 2 parts and so there may be more sensitivity to it; and so louder, but I'd expect this to be sorted in the electronics.

BTW I know the J pup is working, cos if I switch to it and touch a metal item to it, it does "pop" as I'd expect it to.

Thanks in advance.

Rich

If the other band's use of your image is damaging your career and earnings or earning pottential then you can sue for damages, but you need to be able to prove this using offers of work and letters of retraction etc.

If there's no damage that you can prove, then you don't have a leg to stand on, cos if you've no damage then there's no value to the situation.

Idea No.2 You could possibly try for a restraining order, but I would expect you'd need to go to court and demonstrate how seeing the promo images or hearing the audio recordings are turning you into a gibbering wreck... errhm no, I doubt that would come off either.

OK, idea No.3: if the band is doing well on the use of your images and promos, then you can go after them for a share of the earnings that is as a result of you aiding to bring in the work and earnings. If you've a good cult following in the M1 J21 area then you could clean up.

Otherwise... get a new band, nick all the good gigs and piss them off in the good old fashioned way.

I still recon anyone who's made a success of a career in rock DOES know a good bit about music theory. It's just not "Rock 'n' Roll" to admit to it.

I can't believe many of the greats are, to quote Woody in Toy Story; "Falling with style"

What is it about the guitar and bass that folk want to "play by numbers".

I've never yet seen a pianist number the keys 1-84 and write the key numbers down and call it music.

... or maybe I'm wrong?

Hi All,
This book is new out I thought it could be useful for others to read a review.

Ove the past 2 weeks I've been working my way through the first chapter of the first book; I've got the "Beginner Level" it's from a series of 3 by Stuart Clayton, who also wrote "Crash Course Bass". The other books are "Intermediate" and "Advanced".

This series is published by Bassline Publishing; [url="http://www.basslinepublishing.com/"]http://www.basslinepublishing.com/[/url] and it's spiral bound, so you don't have to stamp all over the spine of the book to get it to stay open.

Right from the start you learn all about the Reading basics from bars, staves, note types, time sigs and key sigs... blar, blar... right up to navigation using codas and repeats etc.

In the past I've done some reading and played the note lengths going by my knowing what the tune should sound like. This last 2 weeks, however, I've been playing from the book with the metronome in my ears and trying to keep strictly to the right times for the note length. It makes a change from knowing the tune and timing the lengths. Wow, it's a new world and it really brings you back to reading at a new level and getting the timing right for once.

Reading properly brings a new challenge to playing, but I'm sure that once I've got it covered I'll be able to really play from music scores in books without reverting to those notes that are the work of Satan himself.... TABS!!

OK it's only my very humble opion, but surely if you play by tabs alone you're really only "playing by numbers". If you're going to play Tabs only why get to know the names of notes at all? Why would you ever need to know that "E3" is a G, or "A5" is a D?

But, hey... back to the book. At the start of the book the examples are a bit lacking in "melodic" content, but in fairness to Stuart it's got to be hard to write lines when all you have to play with is crochets, but as you go through the book the lines get better and in the end you're playing some real-world lines.

What I have found really useful, and worth the price alone is Stuart's really clear description about "Accidentals". I've been confused about those in the past, but his discription is totally clear.

Would I buy it again? Well I'm looking forward to getting on to the "Intermediate" book, so I guess that means something. Yep, it's a cool book.

I hope this ramble helps a few folk.

Cheers
Rich

Don't forget to change the title of the thread to "Sold" or something like

The first step is to take your bass down to a good, local shop with a good range of amps and try some out.
Don't forget though, if you don't buy an amp from there, do buy something, strings, books etc.,. otherwise they won't be there next time you need them.

Billy Sheehan, in one old vid I saw, talks about working on a new bass he got where he gouged a hole for his thumb to sit. So "mint" condition doesn't seem to matter to everyone.

[quote name='mentalextra' timestamp='1362512003' post='2000594']
Calm yourself down, I'm talking about his guitar not the man. Sensible people can have these discussion with the usual suspects and there football mentality
[/quote]
I'm calm. No offence ment, none taken either. I'm just intrigued how so many of us say we need 5/6 strings, then we see the real, widely respected greats with 4 strings on a bog-standard bass

ok... correction... standard with his own changes, like taking the frets out.

If Jaco believed he'd found "his sound" with standard pups in his Fender, then anything he changed them to would no longer have been "his sound".

If Jaco believed 4 strings and standard pups is all you need, then that's good enough for me

Hey! I've just found a learned bass player who can advise us:
[url="https://www.youtube.com/watch?v=4h1jQC1Ab2c"]www.youtube....h?v=4h1jQC1Ab2c[/url]
Listen and learn at 0.12... forget the rest after this

See... it's THAT basic!

4's good for me. But I want a Warwick Just-a-nut to get the spacing right.

Envious and speachless...

I'm sure you'll have a great time.

I've bought basses off ebay, done them up and sold them. Basses I've had:
Stagg - ok for what it was.
Westfield - when all set up, with a reasonble action there was a fret that still buzzed.
Wesley - now a defunct company I believe, but they brought in Asian basses - it was ok. Played well, if it did feel cheap
Ibanez EDB600 - loved it.

Where are you?

[quote name='discreet' timestamp='1361302082' post='1984252']
Funny! But I have never understood why pick players are not considered to be 'proper' bass players?
[/quote] Too right, Chris Squire never could play.