BigRedX

It's all down to personal experience, but I have been using Schaller Straplocks for 35 years now and never had one fail on me. The only set of Dunlops I've ever had broke after less than 6 months use.

And another disagreement here. I actually had to quit the covers band I was in because my originals band was picking up more and more gigs until it got to the point that we were out playing at least one night every weekend, plus after deducting expenses was coming away with more money per gig.

Our German "friend" at Music Outlet Shop. There ought to be a Basschat rule about not posting his stuff and giving him the publicity.

OK my comment was a bit harsh, but I one quarter of the way in to the video and you still haven't begun to touch on the subject matter in the title. This is why I don't like vlogs, it gives the creator too much opportunity to pad it out with content that is irrelevant to the subject it is supposed to be covering.

I think for a bass to be a "treasure of the future" it needs to meet certain criteria: 1. It needs to offer something obviously different to a Fender P or J. 2. There needs to be a significant amount of continuity between examples of the same model, so if you've tried one bass of a particular model from a particular luthier, the next one you try of the same model will be almost the same. 3. It need needs to have several high-profile users who have a unique style, and pretty much only play that particular bass. 4. There needs to be a finite or limited supply, because the luthier has retired or died, or because only a small number are produced each year, with a long waiting list.

Would the average person know that a "modern" instrument like an electric guitar might actually be quite valuable?

Are you sure this video is about playing covers? 4 minutes in and all I've seen is driving to the gig and some randoms backstage. I'm sorry but life is too short for me to waste my time on this. I could be writing another song.

On all the guitars and basses I've owned that didn't come with Schaller Straplocks already fitted, I've always used the screw that was holding the original stop button with the Straplock rather than the one supplied. Since the design of the button part of the Straplock means that the screw goes further into the wood the button ends up being better attached than before.

Maybe... Unfortunately Gus will need at least one high profile player who is going to live longer than a single performance with the instrument to get their name properly known.

What you need to do is to have one device as the master clock and the others sync'd off that. Is there one device that will do master clock functions best? Also you'll need to look at the MIDI implementation charts for each device to see what MIDI messages each will send and receive. To get around the lack of MIDI thrus and outs on your devices you will need a MIDI thru box, but make sure that it is one that supports MIDI clock data on all of its outputs as many will filter out clock messages so they don't overload the MIDI dat stream.

I would appear that these days he's using Thunderbird-shaped basses made by Mike Lull.

Each vote costs 15p to make. If the organisation hosting the final gets to keep all of that, it would require approximately 250 million people to vote in order for the voting to cover the costs, which is more than the total television audience. For last year's final the viewer vote was approximately 5% of the total watching audience. Viewer voting is a nice earner but it hardly covers the costs of hosting the competition.

Because it doesn't really matter.

I read that the cost of hosting this year's Eurovision Song Contest was around €45 million. For that kind of money you can make a 13 episode season of a typical high quality TV show with a reasonably well-known cast and believable special effects. I don't think it would look very good for the BBC if they had to spend that kind of money on Eurovision in the present political climate.

Why?

AFAIK, this is deliberate. As I said in my first post, the UK probably couldn't afford to host the show if they won, so acts and songs which have as little chance as possible of winning are picked.

That's not right. There are now so many countries competing that not all of them make it to the finals these days. Edit - 42 competing nations of which only 26 make it to the finals on Saturday night.

With a previous (originals) band, we mostly did all the promotional work ourselves. Our singer was very good at engaging with bands/venues/promoters on social media, and telephone and an entertaining live show coupled with a couple of lucky breaks early on, meant that we were rarely short of paying live work. However that nagging feeling that there must be someone out there who could get us even better gigs - ideally supports with well-known (within the genre) bands at bigger venues lead us to try out a promoter who appeared to be getting other bands decent gigs. He managed to lad us a tour support with a well-known German Rockabilly band (my musically inclined German relatives were impressed that we'd landed the gigs), but the reality was that they were virtually unheard of in the UK and apart from the final night of the tour in London where The Meteors had been added to the bill, we played to audiences that had only really come to see us.

To the OP - why is it important that you identify the wood that neck is made out of?

Eurovision is about much more than the song contest and has nothing to do with the EU - almost half the current entry are not EU members. According to friends I have in the TV and radio industry being one of the big 5 Eurovision members bring a lot of technological advantages from a broadcast PoV which is why the Uk is still a member. However on the other hand having to host a Eurovision Song Contest Final is now impossible financially without government aid, so there is an unwritten rule that the UK entry must not be even remotely capable of troubling the top spot. If the rest of the Eurovision nations hated the UK as much as people think, they would have a much sweeter revenge by ensuring the UK entry won, and then watching all our broadcast institutions go bankrupt trying to organise the final. As it is they have little or no interest in UK the UK and just get on with voting for their friends or the songs they actually like.

Kramer aluminium necks are either 34” scale for 20 fret necks, or 30” scale if they have 24 frets. The necks are exactly the same, just the finger boards cut for the appropriate number of frets. The one in the eBay link will be 34” scale.

I think what Bassassin is trying to say is that they are quite difficult to get hold of, and that the price will be over-inflated, compared with one made in the same factory that is identical in every way except for a less "sexy" name on the TRC.

What sort of a band is it? Covers or originals? If it is covers what sort of market are you aiming for? Pub gigs or weddings/functions? What do you want the promotor to do that you can't already do yourself?

That's the best idea. Somewhere between impossible to fret and buzzing all over the place is fine by me.

BTW. Posting a message in a thread and hoping the Moderators will see it is completely pointless (unless it's in a contentious thread in Off-Topic) as shown by the bass guitar thread that hung about in the Amps section for almost a month before it got moved. If you want a Moderator to move your thread you need to "report" it.