BigRedX

These days the best bet is the usual suspects like eBay and Gumtree. However with it being a Yamaha you might also check out the [url=http://store.ishibashi.co.jp/ec/proList/doSearch/srDispProductList/1/1/%20/11933263000/1/%20/%20/%20/%20/%20/%20/1/40/0/0?jp=on&wd=%20&searchType=0&chgCateFlg=1&excludeSearchWord=%20&facetSearchType=0]Ishibashi Ubox[/url], and if your knowledge of Japanese is good or you have people you know living out there you could also try [url=http://www.digimart.net/search?category12Id=359&keywordAnd=Yamaha+RBX&x=0&y=0]Digimart.[/url] Good luck!

I think it takes a long time to get to know an album that well, plus it has to be one from the days when you didn't have that many in the first place so that you weren't distracted by others. Mine would be: Parachute by The Pretty Things (1970) Doot-Doot by Freur (1983) Give Up by The Postal Service - except for the last track which is rubbish and therefore I never listen to it (2003)

[quote name='Spike Vincent' timestamp='1484230740' post='3213765'] I was kind of hoping you'd be asking if you should use a bright pink Danelectro Longhorn with a Hello Kitty picture on it.. [/quote] [quote name='Low End Bee' timestamp='1484231045' post='3213767'] I want one! [/quote] Is this close enough? [IMG]http://i114.photobucket.com/albums/n249/BigRedX/DSC03107.jpg[/IMG]

[quote name='pete.young' timestamp='1484236903' post='3213851'] Much simpler to buy a keyboard - amazed BigRedX didn't mention that already! [/quote] I was assuming that the OP was wanting to run MIDI-derrived sounds in conjunction with "normal" bass guitar as the band in question is a three piece, in which case the IR bass (or its Peavey and Wal predecessors) is the only serious choice. However if it's just to do some synth bass instead of bass guitar, then you are quite right.

[url=http://www.industrialradio.com.au]The only one bothering with IMO[/url]

[quote name='MoJo' timestamp='1484219406' post='3213593'] I was thinking that I should have included EB3/Ripper derivatives in the poll. We tend to dress in jeans and 'rock' t-shirts rather than period correct clothing [/quote] I that case I would think that anything that sounds right and is comfortable to play will be perfectly OK. In my short stint of playing covers I used my Gus and Overwater basses. Sonically they fitted fine.

IMO it depends on whether your band also dress to look the part or not. If they do, then you really need period appropriate instruments (and possibly back line too). However that doesn't automatically mean a P (or J bass). Most of the bands I was into back in the 70s seemed to use Gibsons or Rickenbackers rather than Fenders.

Even if it wasn't a joke, I'm sure the organiser of the gig would be able to sort out the visa requirements at short notice. I mean if he can't, then who can?

[quote name='Kiwi' timestamp='1484144808' post='3213009'] What's the secret? [/quote] Use a keyboard ;-)

My recollection is that the popped up on Basschat almost entirely in order to promote his recordings and BGM column. Now there's nothing wrong with a bit a self-promotion, but if you are going to put yourself about in a public arena, you also need to be able to deal with the fact the fact that others might not agree with what you say and also that they may not like your music either. Also on a forum there is an expectation, rightly or wrongly, that members should properly take part in discussions in order to be taken seriously and accepted. I've also met Mr Gwizdala in person and seen him play, and he's an interesting and innovative bass player (at least when he isn't doing his impersonation of a second-rate jazz guitarist), but I've also heard him make some fairly derogatory comments about some of his more mundane session work, which if I'm not mistaken is what pays his bills and allows him to pursue his more esoteric musical activities. That IMO is not cool. If you need to take on work that you feel is beneath you in order to be able to do the work that you really want, there's nothing wrong with that, but don't bitch about it in public.

A really good programme. But unfortunately it completely cemented my option that I haven't missed anything musically by not owning any Bowie albums released since "Scary Monsters".

All the Hiscox cases I own were supplied by the luthiers or manufacturers with the guitars and basses that I bought and as a consequence the internal padding in the case is slightly different for each design of instrument it came with. IIRC you can contact Hiscox and they will sort you out with the appropriate padding inserts to make your bass fit properly.

[quote name='la bam' timestamp='1483966338' post='3211435'] I suppose the 'talent' v 'fame' is another topic! What I'm getting at is say being for example Steve vai. Now he's famous is he only ever going to be allowed to gig what he's famous for on big stages a few gigs every other year, or would he love to be playing guitar in a covers band, playing classics and getting that gig buzz. Just because people have made it big, doesn't necessarily mean that they wouldn't want to have a blast playing classics for the love of playing, rather than being sat around not gigging. [/quote] Is Steve Vai actually famous amongst people who aren't actually musicians? Even to me he's just some widdley guitarist who doesn't seem to ever played any music I'm remotely interested in. And how do you know that he's actually want to be doing any of those things that you mention. There's a lot to be said for sitting on your bum watching telly or surfing the net if you don't actually need to work. And as for "playing the classics". I can't think of anything more boring.

Wasn't the Zenta brand sold in Woolies in the 70s?

[quote name='la bam' timestamp='1483959788' post='3211353'] Morning all, A question that I often think is what happens when you become 'famous' (or your band does)? Is that it for live gigs (apart from official big gigs with the band)? Id hate to think thatd be the case. Imagine being so talented then only getting that gig buzz a few times a year - sometimes only every few years! Just wondered if famous bands still gig (on the quiet) or under the radar (as a pub band under a different name etc), or if the musicians have side projects where they can get their gig fix? Seems such a shame to have all that talent and drive, then not gig. [/quote] What does talent have to do with being or becoming famous? For me the whole point of being able to make a living out of writing and playing the music I liked, would be so I didn't have to waste my time doing other things in order to put food on the table or keep a roof over my head. I still wouldn't have time for side projects (ignoring the fact that IMO they dilute what you really should be doing) because I'd be too busy creating and preforming the music I want to do with my band.

As someone who'd be all over this if you were based in my locality, I'd disagree with almost everything mentioned above. Stick to your guns and get the bass player that fits the band and not someone whose going tho change the great sound you have. Also as someone who actually owns a Bass VI, I'd say that they are massively over-rated, and a more "traditional" bass played in the higher register is going to fit much better with the overall band sound. I took mine to a recent recording session, and the sound just didn't have enough authority to not get lost amongst the guitars.

[quote name='walbassist' timestamp='1483802531' post='3210241'] An easy way is to download and print out some radius guides. The Jerzy Drozd setup [url="http://www.jerzydrozdbasses.com/akcndfr54jdhrei567/Ultimate_Guide_ver100.pdf"]guide[/url] has some in the appendices. Just make sure you print them out accurately. EDIT: Just found it, it's [url="http://download.yamaha.com/api/asset/file/?language=en&site=usa.yamaha.com&asset_id=35868"]10 degrees[/url] [/quote] How can you guarantee that your print out is accurate though? IME all consumer level printers are between 1 and 2% off when it comes to linear accuracy.

[quote name='threedaymonk' timestamp='1483659250' post='3209184'] It's really to change the pitch of the neck, which can't be affected by a manufacturing process based on cutting flat shapes with a router. If everything else were flat, the trigonometry would be straightforward and this wouldn't be an issue, but neck relief pushes the nut end higher. You could compensate for this by lowering the bridge, but the exact amount depends on the setup, and there are mechanical limits to how thin the bridge can be. The other solution is to change the pitch of the neck. This could be done by routing the neck pocket at a slight angle, but it's simpler, easier and more flexible to use a shim at this point. [/quote] That's fair enough for something made in the days when pin routers were the height of wood-working sophistication, but it's no longer the 1950s and these days pretty much everything that isn't individually crafted by a master luthier is produced on a CNC machine where it is simple to get the angles required. Add this to the fact that there's a surprisingly large amount of vertical adjustment available in even the BBT bridge and there is no reason why modern bolt-on guitars and basses can't be made with either the pocket or the heel machined to the correct angle instead of messing about with shims.

[quote name='grayn' timestamp='1483709633' post='3209419'] It's almost certainly a rubbish bass but I like it's retro styling. Cool! [/quote] Actually it appears to share many construction features with the Burns Sonic Bass which came out later the same year, in which case it will most likely be quite a good instrument. There was fair bit of variation in body and scratch plate shapes on these (and the guitar versions) due to the fact that they were largely hand-made.

Unless something happens that physically prevents me from playing music I think I'll probably be doing it until I drop. Most people my age (mid 50s) are heading towards being child and mortgage-free (if they are not already) and retirement so those of us who are still interested in playing in a band will have more time and energy for it than at any time since their mid-20s.

It's a Burns-Weill RP1B Streamline Bass, from 1960. Would have cost about £50 at the time.

[quote name='EBS_freak' timestamp='1483549577' post='3208154'] Exhibit A. Nicky Wire. Somebody that could give less sh1ts about dispersion. Don't think it's held him back. [/quote] Putting aside the fact that there's probably nothing in those cabs, when your on-stage monitoring is at worst a combination of wedge monitors and side-fills and more likely in-ears and FoH is handled entirely by the PA, I don't think the dispersion characteristics of the bass rig are even remotely relevant.

Very adjustable, but a complete pain to set up. I'd go for the Schaller 3D design over this provided that it offers enough adjustment for you needs.

£2K for a bass essentially based on a design that has been around for over 60 years now. It should be perfect.

IMO shims are fine if you are making up a bitsa, or want to do something radical with the angle between the body and the neck for playing comfort, but on a brand new instrument that should have been made with modern manufacturing tolerances it's just a nasty bodge. Besides I would think that changing the angle between the neck and the body would negate the effectiveness of the plek setup. I'd send the bass back and get another one that has been made properly.