molan

For me the 'great bass line' can transform the song from being lame to something really quite good. Both One That I Want and Fame are perfect examples. If ever I hear the former it always puts a smile on my face (and not just because I'm thinking about Olivia in skin-tight latex!) and Fame was always on the turntable at my 'lads' flat before we went out on a Saturday night when it first came out Edit - Just realised this isn't true when it comes to Level 42. Awful songs and, purely in my personal view, horrible bass lines. Technically clever but they don't rescue the dire music

Of all the current crop of new Fenders I think the American Vintage series might hold up well. They've opened up at higher prices than the previous reissue models but I think this is understandable given some of the changes (and a new series will always start off high). Fender claim they are genuinely more expensive to make and there's a quality jump from the Standard series. There's a chance that this might mean they won't keep them in production for a really long time unless they sell well. Choosing a model with the best of the new features ought to help as well. The matching headstock J's are my favourites

The BassGear one literally sold on Monday My favourite ever Bag End cab is the 2x12, sounds amazing with a big powerful head. Bit heavy but sounds wonderful. I used to gig a 1x15 and 1x10 together. Worked really well and looked cool as well

Looks like a lot of fun Jake! What are you working on?

[quote name='neepheid' timestamp='1375093623' post='2156529'] I think the worst thing a shop can do is put you through some little practice amp when you're trying out an instrument. Surely you want it to sound as good as it can when the prospective customer is making up his or her mind? Case in point - was in Glasgow a couple of weeks back. Tried a bass in one shop and was put through an Orange crush combo which was buried behind another amp (?). Tried a bass in another shop and was put through a Mark Bass combo. From which shop do you think I bought the bass? Not the first time a shop has lost a sale from me because they made the bass I am trying sound merely functional. I try not to take it personally either, but there's a degree of feeling like I'm not being taken seriously in all this. [/quote] Our standard first question is to ask the customer what he usually uses and then try and find the closest thing from our stock. It's not always easy to match up but we always try to get as close as possible. If someone calls in advance we'd probably recommend bringing their own amp along (unless it's a monster!).

[quote name='mentalextra' timestamp='1375086573' post='2156409'] Thats the downside of a music shop. Bread goes stale, fruit rots, meat goes off. How many customers a day demo instruments? How long does it take to check tuning? Nobody expects every instrument to be perfectly in tune at a moments notice, but preparing for a customer demo is the most important thing you do, surely! The only way small shops are going to compete with the large "box shifters" is on personal service [/quote] It depends if a customer has come to try something specific or just wants to browse a large range of instruments. I was in one day when someone quite literally tried every single instrument in the showroom and at least four different amp and cab combinations. This wasn't a problem (and he spent over £4,000 at the end - ironically on the thing he tried first!) but it's hard to allow for someone wanting to try the entire stock. The place I help out at goes through the entire stock about 4 times a year to check on set up - that's basic tuning, truss rod adjustment, intonation, electronics testing etc. There's always random checking as well, especially for movement in the neck - some brands never budge and others move around a bit if there's significant climate change. Between the three of us in the shop we probably play every bass at least once every couple of weeks. Even with this we often find a random instrument will have gone significantly out of tune or the neck has moved an the action is too low/high. Strings sometimes deteriorate with hardly any use whilst others are fine for ages. Because these things aren't uniform it's tough to always have every instrument just perfect all the time Of course, then there's the issue of exactly what constitutes 'perfect' - one person's low action can be another's unplayable buzzy horror. We used to try and set everything as low as it would go but have found a lot of people want to dig in more and prefer higher actions. Then we raised a lot of basses and someone proclaimed (publicly on this very forum) that the particular, very expensive, brand he tried weren't all they were made out to be because the action on the one he tried was too high. He didn't ask us to lower it for him, just tried it briefly and then basically slagged the brand off I guess it's a case of 'some you win, some you lose'

In this weather it's near impossible to keep an entire showroom's worth of stock in tune, with perfect action and with great intonation. Believe me, I've tried!

I am only going to reply to this thread when Marcus keeps a bass, or does not express an intense desire for a new one, for three months. . .

[quote name='4000' timestamp='1375048420' post='2156229'] To me it's East River Drive that sounds dated. Like bad film soundtrack stuff IMO. Can't listen to it anymore; didn't like it much when it came out. I'd file it with much of MM's output. I saw Stan with Hiromi at Ronnie Scott's and it was one of the best gigs I've ever seen. His upright playing was, IMO, fantastic. He did play a bit of Alembic too though. [/quote] That's the great thing about music - we all like different stuff For me this is one of his greatest ever songs & there's sod all flashy bass playing on it: http://www.youtube.com/watch?v=HT7ZM6HLfig

I never tire of watching this Vid

Yep - seen this before on an MM. Finish lifting and cracking like exterior paint on a windowsill that hasn't been treated for years. Almost like something has burst its way out of the wood and pushed up through the finish Randomly running both vertically and horizontally on the same bass as well. Never seen anything as bad on any other bass ever (and I've seen a lot!).

I think this is one if those 'damned if you do - damned if you don't' situations Don't disassemble and people will complain that you're too lazy / incompetent and the instrument you're selling probably isn't the real thing. Take it apart and someone else will say you've spoilt the build 'integrity' of a vintage instrument that hasn't been taken apart for 30 years. There are far more of the former than the latter though so many people will have to show pics of stuff like neck stamps and undersides of pickups in order to sell.

Based on the average prices on the list it appears that I may personally have 8 basses that would fit into the 'most expensive ever' category. . .

No

About £45

I must admit that I find the earlier albums sound a little dated now The only ones I listen to these days are Time Exposure (just for Heaven Sent really), If This Bass Could Only Talk and East River Drive. I am a real sucker for the Howard Hewitt vocal tracks he has on some albums The newer Stanley Clarke Band album is worth a try out. I saw this band live and, whilst they were very good, I was deeply saddened to see Stan's Alembic sitting at he side of the stage unplaced for the entire gig because he was playing upright instead. My favourite live band was the Clarke Duke Project. Saw them a couple of times and Stan really came to life with George Duke funking things up. I had backstage passes for the second one and the bar area was tiny, I literally swooned when Clarke & Duke strolled in but was way too embarrassed to say hello, lol.

[quote name='dave_bass5' timestamp='1374668930' post='2151542'] Loved what he did with Rebel Rebel on the[size=4][font=arial,helvetica,sans-serif] A Reality Tour as well.[/font][/size] [/quote] My favourite of live intros - especially when the guitar comes back n http://youtu.be/eF551z9KlA8

Jake is a really good teacher - you can't go wrong with him

I played a Kingston once and was surprised Mike Tobias would allow his name to be associated with it. Other than the core shape it had very little in common with the USA535 I had at the time. I was looking for a back up to the 535 but 10 minutes with a Kingston clearly demonstrated that it wasn't really up to the job Maybe they've got better since then though.

The new Phil Jones are nice

[quote name='brensabre79' timestamp='1374598559' post='2150735'] I got a BX500 from Bassgear.co.uk for under £400, it absolutely destroyed my Genz Benz Shuttle in terms of tone, versatility and it is seriously LOUD! Couldn't be happier with mine and considering the price of the 600w Shuttle I had before they are a bargain. It's also the closest I've got to that all-valve immediacy and bounce from a hybrid / solid state amp. I think the BX250 is pretty much the same front end, without the graphic EQ. And from the review above I would say the experience you had was similar to mine. So don't rule them out, check out the price you can get one for. I think they are very well engineered pieces of kit, Carvin don't spend much money on marketing (unlike other manufacturers) so I think this is why they can keep the prices down. [/quote] I used one to rehearse with last night and really liked it. Had to play with the mids a little to get the sound I wanted but once I'd got those sorted it sounded really smooth and punchy

This is brilliant Russ! Nice B15 too .

Very Star Trek - this thread appears to exist in a parallel universe from a very similar one. This particular one isn't as dark as the other so maybe it's a bit safer here without too many tribbles to trouble us. . .