BigRedX

You should also have a look at the Pagelli Golden Bass, which is one of the very first basses that I saw which had the full-length fingerboard (and tuners at the back of the body IIRC). There aren't any images on the Pagelli site right now, but a quick Google should reveal some...

[quote name='Twigman' timestamp='1490780046' post='3267835'] or Pinnacle or Jungle or...there were many back in the heyday - today there are several new ones [/quote] Why would anyone want independent distribution for physical product these days? IME in the past when distribution of your records and CDs was essential if you wanted to sell any outside of your home town; unless you were a massively popular act and could guarantee sales of at least several hundred copies of your album or single every month, the best you could hope for would be to get most of your records back unsold and in slightly worse condition than when you initially supplied them. Most likely you would never see any product returned or any money paid. Nowadays it's far easier to sell your records directly from your band's website or a site like Bandcamp, and you don't need to worry about half your stock disappearing never to be seen again.

Is this the 4th or 5th thread for this bass?

[quote name='TheGreek' timestamp='1490717142' post='3267347'] Re: The headstock end and securing the "ball-less" end of the strings I found photos of a Bogart Blackstone (well Stu Clayton posted pics of his in the For sale thread) which suggests that Andy's plan should work. Imagine this with grub screws (Andy's proposal) instead of tuners.: What's that thing where two people/nature invent the same solution to a single problem??? [url="http://www.ebay.de/itm/SKC-Bogart-Blackstone-5-/382002414720"]http://www.ebay.de/i...5-/382002414720[/url] [/quote] Bear in mind that the tuner mechanism on that Bogart will make it easier to change a string in a hurry than grub screws...

Schaller are normally very good with spare parts, so long as it's a genuine Schaller Straplock and not a knock-off. Send them an email.

Why do boutique pedal makers insist on giving all the controls stupid names (and then refer to them by what they actually do in the description rather than the names on the pedal) which makes it very difficult to actually work out what does what. At least the graphics don't look as though they were done by a 5 year old...

It's all very well the rest of the band saying that you really need an acoustic bass to fit in with the look, and in a way they are right. However I doubt any of them will have spent the kind of money on their instruments, that you need to in order to get a decent electro-acoustic bass guitar. I once spent a weekend auditioning electro-acoustic guitars, and while the really good ones were all £1000+, if I had been on a budget I could have been perfectly happy with something costing £200 - £300. I've yet to play an equivalently priced electro-acoustic bass that even begins to feel and sound any good at that price point. After having had a play of a Takamine TB10, I really wouldn't be happy gigging with anything less. Unsurprisingly it cost about twice the price of an equivalent standard electro-acoustic guitar...

[quote name='Ba55me15ter' timestamp='1488808247' post='3251907'] No speakon-out, only one 1/4" jack which struck me as a brave decision these days. [/quote] [quote name='Chienmortbb' timestamp='1489929498' post='3260849'] With regards to the jack speaker out, I hate jack outputs because most connector are NOT rated for any sort off power. Many plugs and sockets are rated at 0.5A as they were designed for line level signals. So hopefully Peavey have used reputable jacks rated at 5-7A and that means you have to make sure your plugs are also power rated. Neutral, Switchcraft, Amphenol and Rean make high current plugs so be careful. [/quote] IMO any amp rated at over 100W that does not use Speakon connectors is not a serious piece of kit.

[quote name='Roland Rock' timestamp='1490642274' post='3266744'] Maybe it's a genre thing? We play there to some cracking crowds, especially when supporting some better known touring acts [/quote] Actually I think it's down to whoever is organising the evening. I've played two really good gigs there, but neither were booked by the Maze itself, they were just providing the venue. All the standard Maze gigs I've done have just been just a hotch-potch of very vaguely related bands playing at the same venue on the same evening, and very poorly organised with regards to running times and equipment sharing.

[quote name='Cato' timestamp='1490638596' post='3266704'] The defifition of indie used to be that you were not signed to a major label... [/quote] Actually the original definition of "Indie" (and the only qualification for eligibility to the Independent Charts) was that your record was not distributed by one of the major label distributors which essentially meant that it was done by either Rough Trade or Red Rhino.

Didgeridoo by the Apex Twin. It's just one note all the way through.

My initial comment might have been a little harsh, but as someone for whom electronic music of the late 70 and early 80s was a pivotal point in my musical education, it always irritates me when others say that music from the early 80s was bland and boring crap, and when pressed on this point they trot out the likes of Howard Jones, Nik Kershaw, Go West etc. to back up their argument. It's at this point that I feel the necessity to point them in the direction of great electronic orientated music of the period by bands such as Freur, (pre-Dare) Human League, Cabaret Voltaire, Vice Versa (and just about every other Sheffield band from that era except Def Leppard), Fad Gadget, Propaganda, Hard Corps, SPK and many many more.

[quote name='bassjim' timestamp='1490612220' post='3266355'] This shoe gazing drull kind of Indie is not my thing at all. I don't like it very much and find the just playing the 8 notes type of thing musically uninspiring to play or listen to especially when accompanying very under accomplished musicians who are indifferent to any thing that requires musical substance. Or can I say, learning how to play an instrument beyond anything remedial level because you just aint got it or usually from experience ..are a stoner. Its very rare that any of it is IMO good .Its like they all think they are the first one to come up with the same dull song idea. Which is true of other musical styles, fair enough but at least I can get into the other styles. I have to admit however I've been a musical prostitute and done many a paid gig to encourage this kind of behaviour. I'd never do it for the love of it though when it comes to this IMO dross. Peace to anyone who likes this stuff though. Just saying it doesn't float my boat either. [/quote] That's the sort of statement made by someone who has yet to learn the difference between musicianship and music, and why for everyone except self-involved musicians the latter is far more important.

[quote name='RhysP' timestamp='1490610430' post='3266324'] Maybe because they want to? I can't understand why anybody would want to play blues or soul music but plenty of people do. [/quote] Also +1.

[quote name='Telebass' timestamp='1490426944' post='3265019'] Whereas I wouldn't know where to begin writing songs... [/quote] It's a skill that you learn, just like the way you learnt to play the bass.

They might be good musicians but everything about these two leaves me cold. Despite being a massive fan of synth-based pop from the 80s, to me, they embody all of the worst aspects of the genre. If anyone wants some interesting insights into Ni(c)k's early career they should read the relevant chapter from [url="https://www.amazon.co.uk/Lost-Music-Giles-Smith/dp/0330339176"]Giles Smith's book "Lost In Music"[/url].

[url=http://www.thedoghousenottingham.co.uk]The Dog House[/url]. It's quite a way out of the city centre on Carlton Hill, but for the right band(s) can attract a decent sized audience. My band will be playing there on the 8th supporting one of the versions of Danse Society. I wouldn't bother with the Maze unless you fancy being 3rd band on a badly organised multi-band evening.

The last time I seriously looked at getting a motor vehicle to transport myself and my musical equipment, was when I had just started playing in my covers band. By the time I had actually added up the cost of buying a vehicle and insuring it, and before working out what the petrol, tax, MOT and everything else was going to cost; I had already way passed what it would cost me in taxi fares to get to 12 months worth of gigs and rehearsals, so that's what I did. Outside of the band I have no real need to own a motor vehicle, so the cost/benefit has to be solely focused on musical activities. I've managed perfectly well in bands without owning any transport for the 40 years I've been playing. I also think from my experience of both, and from some of the attitudes displayed here, that there is a big difference in band dynamic between originals bands, where, in a good one, everyone pulls gather for the good of the band and everyone has their own different non-musical abilities that all go together to make to band a functioning unit; and covers bands where it seems to be a bunch of individuals who get together a play gigs and that is it.

[quote name='bluejay' timestamp='1490279520' post='3263901'] When MacDaddy gets a lift there are three of us in the car... [/quote] Doesn't he have his own transport? ;-)

[quote name='Conan' timestamp='1490192363' post='3263085'] Fair enough, but I think that is a pretty unusual talent you have. However, are your original songs good/catchy enough for audiences? Sadly if a band doesn't entertain it's audience it is likely to find the gigs drying up... [/quote] Every "classic" song was a new original song in the beginning. It all depends on people other than the song writers and performers liking it that makes it a classic. If you could predict that, then you'd be very rich indeed. The best we can is to gig them as see what goes down well and what doesn't.

[quote name='Happy Jack' timestamp='1490185132' post='3262958'] That's complete nonsense Lozz ... if you want to play an original song then first you have to write the bloody thing! [/quote] From a purely personal perspective, I find it is far easier to write a new song than it is to learn anything but the simplest of covers.

I'm just a very bad driver, and unlike most I'm man enough to to admit it. The roads are a much safer place without me behind the wheel of a motor vehicle.

[quote name='Hutton' timestamp='1490174559' post='3262769'] I just acquired a 1984 Jazz Sound from Bass Direct and it is marvellous. The Tokai stuff is consistently very fine up to the present day. [/quote] Not my experience at all. The MiJ instruments continue to be excellent. The others are no better or worse than any other budget Korean or Chinese instruments.

The popular songs like "Sex On Fire" are what a covers band audience wants. Music they know and can drunkenly dance and shout along to. It's all very well playing a more individual set, but unless these songs are also well known by your audience then you might as well still be playing stuff you wrote yourselves. IMO playing covers isn't the easy ride it is often made out to be. From my brief stint, I found that learning 20 songs meant having to play and think like 20 different bass players, and that some were far easier to "get" than others and it was by no means obvious which were which until I actually got around to working out what I needed to play on each song. Also playing covers has ruined several songs for me that I used to like a lot when I was just listening to them, to the point where I never want to hear them again for the rest of my life.

I've made it to my mid 50s without needing to own a car and have been in many bands that gigged extensively all over the country. In each case the band had a "band van" or similar usually with a soundman/roadie/driver, so not having my own transport has never been an issue. For local gigs we'd make do with a one or two taxis (depending on how much of our own gear we need to bring and how much was being supplied by the venue or other bands on the bill) but then again originals bands don't have to bother carting a PA and lighting rig around. From my brief stint in a covers band, it seemed to me that each band member using their own can didn't really make economic sense compared with the single van especially for any gigs any distance away from our home town.