Wolverinebass

Personally, I'd say £450. That would put it up with the studio strip eq pedal they did a few years ago. What this looks like to me is that you can run both in parallel or combined depending on whether the crossover is selected or not. That suggests to me that (without seeing a manual yet) that it can do parallel dual channel (Orange Bass Butler), bi-amp (Dug Pinnick) as well as lpf and hpf a la (Darkglass X7). It seems like a winner to me espeically with parametric mids. Pity there wasn't an option to run it with stereo bass. Can't have everything though. As for Tech 21 "just cranking out new pedals because they can," obviously all pedal development should have ceased after the fuzz face in the 1960s.

So now Ernie Ball are charging 2 grand for a short scale bass made out of a reclaimed 1970's kitchen worktop which has had the tapioca paint sanded off and a p bass pickup shoved in by someone on work experience. I bet a MIM precision would torch this overpriced pile of "semi ironic" pseudo steampunk crap.

Quite frankly the Epiphone executives appear to have the same supplier in Colombia now that the Ernie Ball execs have. £1300 for this? Really?!! It's laughable.

At the risk of sounding a bit off. I saw Oasis and The Who in 2000. Both tickets were £30. They might not have been "doing a Madonna" in terms of getting in early on the ticket price gouging, but make no mistake, they were market price for the time. So I don't necessarily believe that's completely true. Unless you're referring to earlier than that? Were one being cynical, I would say that's just Gallagher crap to enhance their "men of the people" mythos. How much was Noel's tour a few months ago? Less than a hundred quid a pop?

4 trillion streams. Just think, Spotify might have paid out 9p for that and I'm sure Daniel Ek resents every bit of that wasted profit.

With the greatest respect, that's not true. I'm 44 and in the 2 best originals bands I've ever been in at the same time!! Admittedly, I did help out a band I produced for about 2 years because they couldn't get anyone permanent and recently the singer said I was too old. It's fair to say that I probably look 5-10 years younger than I really am. In actuality, the singer realised he had no control over what I played (he wanted an 8th note plodder - which I'll never be) and I don't take being told what to do. Suggestions, okay. Anyway, no big deal. One can't control other people's insecurity. It was his band so the fact nobody agreed with him was irrelevant and I got politely thanked and asked to not play live for a band I wasn't even officially in. In my other bands, nobody tells anyone what to do. Even if you didn't write the songs, nobody is going to tell you what to play. Also, I recorded a thrash metal band a month ago. Both the guitarists were in their early/mid 20s. The bass player was 41. They didn't care. Why? Because he was excellent. Only people with delusions will discount you just for your age. It'll never be a talent thing and always an image thing. Those bands that are concerned with image over musical talent aren't worth entertaining as they always without fail are the vanity project of one or more of the members who think they're going to "make it big" or want to satisfy their own rampant ego.

About 15 years ago, Fender did a "classic 70s reissue" which was Olympic white body (or sunburst), black scratchplate with black blocks, binding and a maple neck. They started off as Japanese models then production got switched to Mexico.

Get some DR Droptunes. I use the 105-45 set on mine which is in C# standard.

Someone probably said the same thing about removing the lifeboats from the Titanic.

Thanks. I do try squire!

It's difficult. Whilst it could have just been innocent, life has taught me to chase the rats in my head to the worst possible outcome. That way, nobody can ever disappoint you or (more importantly), they can never blindside you. From a personal perspective, as I never play in covers bands, there is no way someone else is playing bass in a band I'm in. They would have 3 seconds to make up their mind and after that point I'd quit. Maybe I take things too seriously. Maybe the lady in question is very nice, but just a bit self unaware. Maybe it's all a ruse to force you out of the band through a series of petty humilations waiting for the day when you snap, quit in disgust leaving them with one less band member to split the cash with and them laughing sinisterly with lightning flashing in the background. Sorry, that's just my weird thought process. The keyboard player is probably just an eager div who didn't realise the implications of the suggestion. Or maybe this is a subtle way to start a tempestuous affair with you by taking an interest in your playing and requesting "tuition"...... Sorry, couldn't resist that one.

The easy way to explain the Stingray series is - They're all massively overpriced because Ernie Ball are clearly on the gear. Now, you don't need to know anything else. A grand for a Sterling?!! 3 grand for a Stingray?!! It's just insane. I toyed with getting one about 5 years ago when they were £1800. However, now that they're twice that, I think not.

I watched "The Kids Are Alright" when i was about 8. Bass guitar didn't sink in properly until I got into U2 about the time of the Pop album. After picking up the bass I realised how little challenge those parts were and I went back to The Who. My late brother said when I was taking up bass, "What's the point? You'll only be as good as Sid Vicious. You won't be as good as Adam Clayton or John Entwistle." Some years later he denied he'd ever said that. Whilst I had musical training in the form of piano and trumpet beforehand, after I saw The Who in 2000, I realised that bass was all I wanted to do musically. I saw a level of technique I wanted to attain and determined to get there. Going this way has its downsides too. People that want you to play much simpler (for lots of reasons), but after 25 years I just don't entertain those bands that don't give me any freedom. That's not to say I am (or am not) a colossal show off, but I always play what the band needs first.

In the case of the Spector, Warwick got there first. Which in Warwick's case is their only one despite protestations to the contrary.

What will Sire do next? Judging by those basses, quite frankly, any old crap as long as they can put Marcus Miller's name on it.

Yes, there are worse bridges. Even Rickenbacker replaced theirs eventually. When I got my Epiphone Thunderbird I couldn't get it to intonate properly at the action I wanted. I grant, that is exceptionally low, but it was infuriating that either the D or G string could never be got to intonate properly. So, after a few hours of creative swearing I ordered a Hipshot. Unsurprisingly, that worked exceptionally well. The simple fact is the 3 point bridge is crap if you want a super low action. Gibson don't care about bass players so we get the scraps from the table and a bridge made in a cave by bending some corrugated iron bin lids into a weird dolphin shape and saying "that'll do." However, on a more serious note, maybe it should be "bridges that are amazingly difficult to adjust."

Well, at least you know what Richard Burton is going to show you in Room 101.

Some people have no commitment to GAS or the need to almost bankrupt themselves buying stuff they don't need. To quote Liz Truss, "That.... is.... a..... DISGRACE!!" 😂

I had a bleak time after I left a signed band when I was 28. I couldn't understand why bands wanted a more simple feel. I really was actually quite angry and disappointed about it. Then after a bit of a venty post, Chris B said "maybe you're not going for the right bands?" Something immediately clicked and I realised that was the case. Since then, I've been very picky about the projects and people I work with. I'm very lucky to be in 2 originals bands with people who are not only great players, but also lovely people. I guess being in the sticks is much more difficult. I'd probably be doing some form of online collaboration if that was an issue. Certainly, where I'm from in Scotland I'd be stuffed as I'd have to drive everywhere and I've never owned a car. I think as many have said, be very sure of what you want and eventually it'll make itself known. Although one of the bands I'm in is mine, the other, I was referred to the guitarist by a friend, so that has been borne out in my experience at least. Yes, I had to wait for a while to get started with both of these and the gap between them and my previous projects was actually about 3 years. There was only a few attempts at things during that gap which didnt work out, but I will say I was lucky.

Well, I joined Basschat many moons ago, when the options for geographical accuracy was a bit more limited. I just haven't changed it. Welling is in Zone 4 actually, so yes, it's in London. London Borough of Bexley. As it borders Greenwich, Woolwich and Plumstead are they not in London or does it only apply to the square mile? Ha! There should be no logos on a headless. Mainly so the manufacturers have "plausible deniability" of having built them after they're sold. It's funny you say that about your Squier. An old friend bought one in CAR and it sounded fantastic, but I did have a laugh about the possible reason it was so cheap was because it looked horrible.

Not at all. You asked what the "usual" position was, so I told you what is the most common. Alembic, Status and Gibson basses have that position as do virtually all other basses that have double humbuckers. Musicman are the outliers here. The only one more ridiculous is the double buck Warwick where they're almost touching each other in the middle of the body. Maybe you missed the word "prejudices" in the title of the thread. For every single thing someone has listed, someone else will have that as their favourite thing ever. Ironically, I've played double humbucker Stingrays and they've been fantastic to play, but I can't get the snap out of them I'd want due to the pickup positioning. So, for every person who has listed something, it's all an opinion or something that won't work for their technique, hand size, tactile feel, appearance, sound, or whatever arbitrary quality standards they expect when buying an instrument.

Look at non Chris Wolstenholme Status basses. The pickups are about an inch further towards the bridge. That's where they should be.

Only on my days off.

This is going to be a long list. Singlecuts that look like a melted plastic toy whale. 38mm nut width. Satin finishes. The fact that virtually all basses have 40mm nuts nowadays as so many are made in the same factory. Cort, Schecter, ESP to name but a few. 3 point bridge. Headless basses. Basswood bodies. Humbuckers in the Musicman positions rather than the normal ones. Fender custom shop (You're not making a Wal. Cut the crap eh?). Warwicks. Mainly for pricing structure and plagiarism. Block markers that are a weird colour or just not white/pearloid/black. Foderas. Sorry, how much for a bass that's more polite and free of personality than my aunt? Dingwalls for the fact that every Nolly wannabe has to have one. Ashdown basses. They're really not great. Cheap tuning pegs. Just why? Oil finishes. It's not a deck chair, get it finished properly. Inaccessible truss rods. Figured necks. Planning on playing with your back to the audience the whole time? No? Well, you've just wasted your money on that roasted flamed maple neck. Logos on the body. If I wanted my bass to look like an advert, I'd put a Marlboro sticker on it just to be difficult. Candy Apple Red. Has anyone ever bought a bass this colour? I certainly don't want to go onstage looking like I'm about to play a stale Braeburn apple. Sparkle finishes. Good luck fixing that when it gets chipped. Racing stripes. Does a Mustang bass go faster? No, it just looks cheap because of it.

A friend of mine saw Whitesnake on the last tour. They did the same thing. 2 songs. Voice shot. Solos. 1 song. Solo. Etc., etc. I don't dislike Coverdale either actually. I was just making the point he's past it.