BigRedX

None of these were for me musically at the time, and the passage of time hasn't made me any more favourable to any of them. I was mostly listening the House and other electronic dance music in 1991.

The band I was in during the 90s went through 4 name changes, 6 singers, 5 guitarists, 2 bass players, 2 keyboard players (as well as line-ups where all the keyboard parts were produced by sequencers), 4 drummers - including one who left the band and rejoined later (and line-ups where the drums were all loops and programmed samples). I was only member in all the line-ups but I started as the bass player and ended up as the guitarist. And just in case you think that sounds like lots of different bands, when last version of the band split in 2002 we were still playing songs written by the original line up back in 1990. We also had recordings originally made and released under one band name/line-up that were re-released under a later band name and promoted with an entirely different line-up preforming them live. The Terrortones had 8 guitarists and 5 drummers during their 6 years of existence. Each of our 4 releases has a different line-up playing on it.

If you want something with Fender Jazz spacing and P-bass type clank you should buy a Fender Precision with a Jazz neck. These other basses exist because they offer something different in feel and sound.

It's hardly a new phenomenon, by the time The pretty Things made their 1970 album "Parachute" singer Phil May was only member left from the original line up.

Looks like just another J-bass copy to me. What makes it special/different to all the other J-basses?

I thought hipsters wanted everything to be "authentic". Therefore they would be paying by cash - probably in groats or guineas.

There was a time (about 20 years ago) when I would practice the set at least once every day I wasn't actually rehearsing or gigging. At that time the band I was in was also using a lot of high-tech equipment, so the pre-gig routine would normally be to break down everything we needed from the studio where we practiced and pack it all into flight cases. This would normally take a couple of hours on the night before the gig. Then on the day of the gig these flight cases would be loaded into the band van, driven to the venue, unloaded, set up on stage, plugged in, and ready for the sound check. With a bit of luck everything would still be working, and we wouldn't have forgotten anything important (like the floppy disc with all the MIDI files for the sequencer backing). Then after the gig we would have to break everything down and take it back to the studio, where it would be re-assembled for rehearsal the following evening (another 2 hours or so). With everything else going on making sure that I played all the right parts on my instrument was normally the least of my worries. Unsurprisingly I don't miss this in the slightest.

Up to now, Bluetooth has simply not been worth bothering with due to the amount of latency it adds to the signal. What might be acceptable for most consumer uses is probably too great for anyone with timing critical applications. The only way I would risk going the Bluetooth route, is if I knew I could get my money back, no questions asked, if turns out to be unsuitable.

Not really very custom. Yet more P and J clones. There's more to bass guitars than this.

Woolies Special. Cost about £20 back in the 70s and was overpriced at that. People only bought these because they couldn't afford anything better.

I like the first Nouvelle Vague album.

Turn up. Set up your gear. Play. That is all.

Is there enough room on the inside between the base of the unit and any circuit boards for bolts to fit a Mic Stand adaptor? Not a mod you would want to make if your are looking at resale value.

Whatever is available. Ideally direct from the luthier who has just finished making the instrument to my specification.

At least the seller isn't trying to pass it off as a Kramer Duke. As Assassin says the hardware on these is rubbish. They might look like Schaller parts, but are made from much softer metal. Also if you are interested check that it actually has an aluminium neck, some Aliens had wooden necks.

IME anything that isn't inlaid into the neck will come off or move at the least appropriate moment. If you can justify the cost of LEDs get some Luminlay markers. On a bass with a removable neck they are an easy DIY fit, and for set or through neck instruments any decent luthier will do a great job for a little extra outlay.

Also given that the OP hasn't been on Basschat since the end of July we may never know.

AFAICS all the artist mentioned are from an age when recorded music was the end product rather than a promotional item. I doubt you'll find any mainstream acts from the last 10 years that don't play live.

There isn’t much danger of getting a bad cut or pressing these days as vinyl now has to compete with other technically superior formats, so it would be economically unsound for the manufacturers to produce anything sub-standard.

Named after a Scritti Politti song.

We’re the only support for that gig so hopefully we won’t be on stupidly early, 5 minutes after the doors open.

I'm surprised you're not doing your own sleeve artwork... I was part of the DIY, Weird Noise Cassette Scene in the late 70s and early 80s (at the slightly more "commercial" end). For some of us the Desperate Bicycles were too mainstream! Anyway good luck with the single and let us know when you have copies to sell.

But can you do it in real terms as cheaply as The Desperate Bicycles? I terms of keeping it pure/analogue that's a lot harder. A pervious band I was in tried to do an all-analogue release on cassette, but found that it added 50% to the mastering cost to keep the audio out of the digital domain, and that none of the small-run cassette duplicators would accept an analogue master tape. Same with your sleeve artwork. The first thing that will happen one you pass it over to the printers is that it will be scanned into a computer.

Unfortunately so. There has been no official disbanding, but Mr Venom has not been gig-fit for about 4 years now, and the last I heard he was looking at moving away from the UK, so any future Terrortones gigs or recordings are looking less and less likely. All the recordings are still available for sale...

Actually the best strategy is to do what The Terrortones did. Organise gigs in your home town. Put on reasonably well known bands who are doing a similar style of music to your band and who will play for less than £150, and get your band to open for them. Do this on a regular basis - every 4 to 6 weeks, make it into a decent evening with DJs playing appropriate music between the bands, promote the hell out of it. You'll learn lots from watching the more established bands go about their business (both what's good and what to avoid) and unless your band is dreadfully dull you should start building a decent local following. It also looks good on your band's "CV" for getting decent out of town gigs, when you've got a long list of impressive support gigs.