KevB

Think Blackmore was wearing a syrup as far back as mid-late 70's. Ian Paice mysteriously has more hair now than he had 30 years ago, though Roger Glover seems to have accepted it and just wears the ubiquitous bandana everywhere. Mine's been going steadily for years, especially at the back but whenever I seriously consider going for a cut #2 all over someone pipes up that I should keep it!

If they really are that poor then sales will ultimately reflect it I guess. Having said that there probably aren't many music shops in the UK that would have as many as eight 4003's available to cross check against each other. I have a 4003 but it was made in 2000 and I've never played another ric that was more recent than this that I recall. I wouldn't expect any instrument that's been shipped from any distance and hanging around in a shop to be completely 100% perfect straight out of the box with absolutely no setup at all. For me that's part of the extra service you expect from a shop rather than buying online. A good music shop should be giving instruments as expensive as this a thorough going over to make sure they are right and sending back anything that isn't.

'Spare some change for a cuppa, guv'nor?' No, this is NOT me!

[quote name='Big_Stu' timestamp='1342628895' post='1738263'] At his age I'd be disappointed if it wasn't But there was a pic of him a few years ago when he was maybe nipping out for a gallon or two of Grecian2000. [/quote] I think there was an interview a while back with macca where he was having a laugh at himself telling the story of his early attempts at hair dye where under the lights of a sweaty gig it started to go a funny purple colour and start coming down his forehead...

So basically you are seeing acts doing tributes to a band in a building that is in itself a tribute to the original venue which no longer exists either. I think there is a certain poetic justice in that Can't see it being on Bilbo's 'must visit' list though...

I've never quite got the 'real bass players don't use picks' thing at all. I've had this conversation with Richard (Out To Play Jazz) before now. He's a great player and proficient on additional instruments other than bass but he's a firm 'fingers only' man. My main contention has always been 'Why deliberately restrict yourself'. I recall an interview with Bob Daisley where he mentioned that he got the gig with Rainbow in the mid 70's almost entirely on his ability to play fast and accurate with a pick because that sharp attack sound was specifically what Blackmore was after at that time.

Short answer I always give is learn to be proficient and comfortable at both fingerstyle and pick then you'll be prepared for either when they come up.

Am I right in thinking that the venue currently being passed off as the Cavern isn't actually where the Beatles played anyway?

But you can see why players who were constantly trying to get full sized DB's to gigs by public transport must have thought this was a godsend. Until they tried picking up the all valve amp anyway

One possible alternative might be the Behringer BX4500H which is similar but even cheaper; [url="http://www.thomann.de/gb/behringer_bx4500h_ultrabass_basshead.htm"]http://www.thomann.de/gb/behringer_bx4500h_ultrabass_basshead.htm[/url] I used to have one that I kept in a practice room for rehearsal and as a backup for gigs. I never had a breakdown of my main rig so in the end I sold it on but it never gave me any problems. People seem to think that anything with Behringer on the front will automatically self destruct within a week of purchase but this thing seemed very ruggedly put together to me.

Carole Kaye's working her way through the list until there's no one left to contradict her. Seriously, another big loss. I was unaware of a lot of these people other than Jameson until documentaries over the last few years put more of a spotlight on the unsung heroes, Babbit came across as very likeable and genuine.

Not just on that song, or indeed the album, there's some further quality bass work on various tracks done later by the likes of Del Palmer and John Giblin. JG's fretless work on KB's stuff has been mentioned before on here.

Still using that BBOT to get the exhaust fumes from the engine to the outside...

I've got the whole Yes back catalogue, including FFH which, as has been said, was released some time ago. I got the album and saw them on the tour they did to promote it. Wouldn't say it bears any significant resemblence to Drama despite the lineup. However it is clear that Downes has had input into the songwriting, it's just that it sounds more like Asia than Yes as a result. Listen to the new Asia album XXX and it's not far removed from 'Fly From Here' to me. However, if youy can now get it as cheap as that from Amazon I'd do it. For those interested the singer on the album has now been sacked and replaced with another frontman from a Yes tribute act. They are not dong their credibility a lot of good TBH. They've painted themselves into a corner with the way they treated Jon Anderson so I doubt he'd come back and they are stuck filling in with soundalikes. Oh and spongebob you're not the only one - Release Release and On The Silent Wings Of Freedom are quality songs for me.

[quote name='thunderbird13' timestamp='1342195225' post='1731430'] I was too scared to mention Guitar Pro so I'm glad someone else did - I'm rubbish at working out recordings by ear [/quote] Absolutely f***ing fearless me y'know Still don't know why people give it a bad rap, I have hundreds of the files and on the whole of the ones I've used to learn stuff for bands in the past I've found them mostly to be pretty accurate, especially those that have gone through a few iterations. For those that insist on proper notation that is there too as well as the tabs. Plenty of other software around that does the same job but I still have a soft spot for GP.

Listen to the original and maybe a live version if available, try to get as much info as I can out of it then usually go to GuitarPro if there is a file avialable and 95% of the time find out bits that I'd completely missed by listening alone or was clearly playing incorrectly. GP speeds up my ability to learn stuff from scratch about 3 fold I reckon.

How are we making the valuations here, what the bass cost or what it would cost to replace new? My MIA jazz is my main gig bass when I'm in a band. It was bought S/H for less than £400 but I doubt I'd find an equivalent one again at that price and god knows what one costs new and shiny, over twice that I guess.

If someone's resurrected this thread I'll just slip this one in as I forgot originally - about 20s in on this, simple but effective : [url="http://www.youtube.com/watch?v=DBVIzjZlYRg"]http://www.youtube.com/watch?v=DBVIzjZlYRg[/url]

I notice it says 'deluxe' on the headstock but was struggling to figure what 'extra' this bass would have over the standard model?

Just don't be tempted to take some of your chickens along to the gig, you know what happened to Alice Cooper...

They have a certain sound up to a point (why buy a bass for that sort of money that sounds like any other bass?) but the 'one trick pony' thing gets a little overdone - does late Beatles McCartney sound like Chris Squire? Do either of them sound like Lemmy? how the players play, what they play through and things like string muting at the bridge can radically affect what the final sound is.

Nice one George. Unless you happen to be Chris Squire I think jetglo is [i]the[/i] classic ric colour, never been that keen on any other ones other than the CS cream model. I see you have the PU cover still on....only a matter of time!

I have to say I was slightly taken in by the hype and fitted a badass to my S1 jazz. Not sure how much difference it really makes but seems pointless taking it off now as I like the overrall tone. However when I got a precision deluxe from a similar year of manufacture I didn't bother with the uprade as the P sounds massive as it is. Also it would require another badass III for thru body strings and by the time I got the P they were getting scarce and pricey.