Musky

[quote name='uncle psychosis' timestamp='1418979200' post='2635343'] If you put build a "bitsa" bass and put a Fender logo on it then the problem is that its technically illegal. You're breaking the law if you try to sell it, regardless of whether or not you're open about what it is. The guy selling it now might be honest about what it is, but the next guy might not be, which is why disclosure doesn't affect the legality. I've C&P'd this from elsewhere, but Trading Standards are quite clear about this: 1. Using a logo/trademark that doesn't belong to you is illegal unless you have permission or a license to use it 2. Using a disclaimer ("this is not a real Fender") is not a legal defence in Trade Mark / Copyright law 3. Counterfeit goods (like Bitsa basses with Fender logos) cannot be legitimately sold, even with a disclaimer. Now, personally I don't really care if someone wants to build themselves a bitsa, thats fine by me. But the law is what it is. Again, more C&P: Fender sell replacement necks with logos to be fitted [b]only[/b] to Fender guitars. Warmoth (and others) sell licensed (non-logo) Fender style necks which can be put on anything you want. It is the addition of the Fender logo on a guitar that was not made by Fender that puts you on shaky legal ground. Adding a Fender logo to your homebrew bitsa is probably fine for your own personal use, but selling it becomes dodgy. [/quote] Private sales of goods using others' trademarked designs are fine in the UK. Trademarks in this country apply to those who manufacture, import or distribute goods by way of business. As far as counterfeits go, the CDP act does apply to the resale of goods but only if you're benefiting commercially or have reason to believe they may be counterfeit. The sale of goods act would also apply (for mis-description), but obviously if you've made it clear that it is not the item it's aping that won't come into play. So private sellers are good to go. [quote name='Billy Apple' timestamp='1419002464' post='2635636'] When JH originally started his action with BC there was some confusion over what parts of the 4000 series shape were trademarked. This led to an early decision to allow the sales of Rickenfakers with the head-stock hidden from view. Subsequent correspondence revealed that RIC owns the trademark to the shape of the head-stock, body and truss rod cover of the 4000 series shape. Hence the complete ban on sales of Ric copies and the posting of links to them elsewhere. [/quote] Initially RIC didn't have UK registered trademarks over most of their design (I can't remember what they did have registered but it wasn't much - just the logo and headstock I think). They then registered the marks for other parts of the design and jumped on BC. I think JH commented something along the lines of "It's not up to me to keep you up to date with registered trademarks"...

He's listed this as road worn, but it just looks like it's picked up some relatively new chips to the finish. It's not my idea of 'wear' - it's even chipped around the neck pocket. Maybe I just expect too much from seller's descriptions.

[quote name='Hobbayne' timestamp='1418865085' post='2634335'] 79p?? Someones got a bargain!! [/quote] He was charging $100 for US shipping or $50 to collect it!

When I was learning I asking my tutor if that was all he did for a living. "That and gigging most nights of the week" was his answer. "Wow. So you're a professional musician then" I replied (I was easily impressed at the time). He thought about it for a second and said, "Well yes, I suppose I am". He genuinely seemed to have never thought about it before. I think being a pro is more a state of mind. Just like there are executives who still consider themselves working class, I'm sure there are people who might strictly be semi-pro that consider themselves professional musicians.

The fumbling fingers thing... yeah, I can remember that. And trying to mute the strings. I can still remember thinking that I'd never get it - how on earth were you supposed to play a note [i]and[/i] mute the other strings at the same time. I spent ages on that, with seemingly little improvement. Then it just seemed to click. I didn't even notice when it happened, I just found that I wasn't having to think about killing that ringing D string all the time. You can work on something for a long time with little noticeable improvement, and then one day it all falls into place. The key is to push on through the periods when nothing seems to be coming together.

[quote name='Kiwi' timestamp='1418720656' post='2632558'] It's worth noting whether the strategy was adopted by Camden as Supplementary Planning Documentation. I know it was by Westminster and the borough boundary runs right down Charing Cross. If Camden have then this should be noted in any submissions. It's also identifying who or what(if a committee) is responsible for decisions over planning applications and making a direct approach. Finally, it's worth bringing the matter to the attention of the media. Although media attention rarely influences planning process, it can influence those elected members who are wary of losing their majority. Most developers will simply push for whatever they can get, skirt the limits of what is reasonable in planning terms and rely on the planning authority to pull them up on whatever is unacceptable. The ultimate fall back for the developer is to threaten that whatever the local authority wants makes the development economically unfeasible (while at the same time refusing to share their evidence on the grounds of commercial sensitivity). I'd imagine in this situation that a similar tactic to that used for the Astoria might be proposed - a new venue. Although Consolidated don't have the Crossrail Act to help push things through in this case. EDIT: The most recent planning assessment for St Giles is here: [url="http://camden.gov.uk/ccm/navigation/environment/planning-and-built-environment/place-plans/st--giles-holborn/"]http://camden.gov.uk...-giles-holborn/[/url] P12 is relevant: "[i]A place to be entertained. The area has a number of restaurants, pubs and clubs and is also close to the Theatreland of the West End and the nightlife of Soho and Covent Garden. This means that large numbers of people pass through the area at night to catch buses and make their journey home. While these businesses contribute to the bustling nature of the area, add to the range of goods and services on offer and contribute to the local economy, they can also be a source of concern. ... Local people particularly raised concerns about the area around Tottenham Court Road and New Oxford Street, where a number of late opening premises are located in a small area.[/i] " P16 too: "[i]Denmark Street Conservation Area is designated for its historic street pattern dating back to the 12th century, the magnificent grade I listed St Giles Church and the unique survival of early Georgian terraced housing built in the 1680s on both sides of Denmark Street and the network of narrow passageways that give it an intimate character.[/i]" Looks to me like they have ONLY consulted with the local community and have failed to recognise the wider significance that the area has to London overall. Problem is that the local authority can often point to consultation as proof they've ground truthed proposals and if the local community don't know how to express their concerns in planning/economic related terms, the local authority has a get out of jail free card. I'd say there's a strong case to argue that Camden have dropped the ball a bit. [/quote] Very helpful Kiwi, thank you.

[quote name='Kiwi' timestamp='1418668329' post='2632177'] You, Sir, have an outstanding memory. Yes, I did write about it as I was leading the design of the area around St Giles High Street and Centre Point Tower at the time. Consolidated Developments own most of the block and I had a conversation with the owner at the time about their plans. I imagine the time is right now that Crossrail is about to come on line in the next few years. [/quote] I've still got the PDF of the management strategy that you linked to. Scanning through it again it's interesting how some o the concerns raised seem to have been ignored. [quote name='taunton-hobbit' timestamp='1418679732' post='2632342'] Sorry to go on - but Denmark Street has changed totally over the years, along with most of London - I'd like to see 'Tiles' still there, but I guess Jim Marshalls heirs might have their own take on that one.............it's what's relevant to you, as an individual, that creates the static, and it's just that that town planners have to modify/disregard unless development & progress are to wither on the vine, Out here in Real World land, music history like the Railway Hotel Wealdstone, Taggs Island and The Star & Garter (Windsor) are allowed to crumble away without all this commotion....just cos it's in London don't make it special.............How about starting a thread of 'important' venues that just don't exist anymore ? - Nags Head, High Wycombe & the Bull at East Sheen for starters - off you go chaps............. [/quote] I have no problem with change, but do disagree that development and progress go hand in hand. The development of Euston station is a good example, which just the other day I heard described as the greatest example of post-war civic vandalism in London. The old station had to go, but what replaced it very poor both in function and architecturally. I never had the opportunity to visit any of the venues you mention but have heard of some. Perhaps if people had defended them they might have survived a bit longer? That's all I'd like for the 12 Bar - although you might not consider that it's in the real world, it's in my neighbourhood and so it seems pretty real to me. [quote name='BetaFunk' timestamp='1418683891' post='2632415'] In the world of many Basschat members Denmark Street is probably paved with 1951 Precisions and change is a thing that must be resisted and Pink Floyd, Led Zeppelin and ELO are the crazy cutting edge of rock. Meantime in the real world i agree with you. [/quote] I have no such illusions thank you. I'd just like to see what is my favourite venue in London spared from this development.

[quote name='toneknob' timestamp='1418660553' post='2632069'] The 12 bar Club has recently announced its closure in January 2015. From their Facebook page at [url="https://www.facebook.com/12BarClub"]https://www.facebook.com/12BarClub[/url] "We are very sad to announce that The 12 Bar Club has been given notice to vacate Denmark Street by the middle of January. The 12 Bar Club will live on We will announce details of our new location shortly" [/quote] John Robb was on Radio London this morning, spelling out the demise of the 12 Bar and most of the music shops in the street. Lots of pop up shops are promised apparently. In more positive news, Pete Townshend is now on board with the campaign. It would be good to see a few more name bands get behind it as well. Like Jack, it's the 12 Bar that I'd miss most and hopefully it might yet be saved in the same manner as the 100 Club was a few years ago.

I think the Korean Squiers only started in '88, so definitely not '82 or '84. There were only Japanese Squiers at that point. The Squier Wikipedia page has info on dating them from the serial.

It does rather remind me of the whole Freekish Blues/Joyo fiasco... See also [url="https://en.wikipedia.org/wiki/Veblen_good"]Veblen goods[/url].

[quote name='Annoying Twit' timestamp='1418339362' post='2629439'] Thanks. I usually like oil finishes, but it doesn't look right to me on that bass. The glossy red CSB looks fantastic, IMHO. [/quote] The finish on the 380s is a bit strange, in that it seems to chip quite easily. The weird thing is that the wood seems to be stained by colour coat, if that's possible. Although you lose the lacquer the wood retains a rather powdery looking colour, and as a result still looks quite tidy. My 380 looks fairly presentable apart from the obvious chip on the upper bout - the reality is that there are lots of small circular chips all over the thing. [attachment=178355:CSB380.png]

[quote name='Paul S' timestamp='1418313934' post='2629099'] Never mind that. Get a simple record you like. For me it was Status Quo... there I admitted it... Play it in Windows Media - right click and you get a little box appear with 'enhancements' as one option. Click on that you'll see 'Play Speed settings' Click on that and you will find you can slow the track you are listening to down as much as you like without altering the pitch. Play along at a slower speed, then gradually get it back to the correct speed as your technique improves. It is how I still learn tricky passages. [/quote] Another handy program is [url="http://bestpractice.sourceforge.net/"]Best Practice[/url]. Much like the Amazing Slow Downer it appears to be modelled on, it allows you to slow stuff down and loop sections so you can practice just one section of a song. Quite handy if you have trouble remembering the whole song.

[quote name='Annoying Twit' timestamp='1418316051' post='2629124'] Is this CSB a refinish? I've never seen one this colour. Most of them are red or blue aren't they? [url="http://www.ebay.co.uk/itm/aria-pro-bass-guitar-/131375779085?pt=UK_Musical_Instruments_Guitars_CV&hash=item1e969b4d0d"]http://www.ebay.co.u...=item1e969b4d0d[/url] Like this one: [url="http://www.ebay.co.uk/itm/Rare-Vintage-Aria-Pro-II-Cardinal-Series-Bass-Guitar-CSB-380-/221629919827?pt=UK_Musical_Instruments_Guitars_CV&hash=item339a2c3253"]http://www.ebay.co.u...=item339a2c3253[/url] [/quote] That's a CSB300 and they only came in walnut. However I don't think that's walnut. It looks like it's been stained as it's way too dull and the colour isn't right - just compare with the headstock. The CSB380 did come in red and blue (and also apparently black, which I've never seen on any 380) and they had high gloss finishes, unlike the 300 (and definitely unlike the one in the auction). His starting price would be at the top end for a CSB300, so his BIN price is definitely optimistic.

[quote name='Dan Dare' timestamp='1418309744' post='2629025'] You don't actually specify a budget, as far as I can see. As others advise, you can't generally get decent sound out of small, cheap bass amps (you need to move air and cleanly for low frequencies and that takes a bit of power/quality). If you can stretch to it, the smaller EBS combos are nice and the advantage of buying something better is that you can recoup part of the cost when you upgrade. The amps you suggest will get you virtually nothing back on resale, I'm afraid. I'd steer clear of pawnshops, too. They don't give stuff away. eBay a better bet. Good luck. [/quote] Budget seems to be about £40 judging by the amps the OP is eyeing up, and probably wants something near Bolton or that can be delivered very cheaply.

Thieving scum bags. Pop into all the local Cash Converters/Generators and give them the details you have - they often try to unload them there. BF cabs are still fairly uncommon.

A Jazz bass of unknown heritage. http://www.ebay.co.uk/itm/Fender-copy-70s-Jazz-Bass/321608530854 It's got those rounded pickups that popped up on 70's japcrap, though I'd imagine they were fairly generic.

Some people are prepared to a lot for a blocked and bound neck with a Fender decal I guess. Though why they don't shell out just a bit more for a VM Jazz and their own decal is beyond me. I wonder how much further they'll take the bidding on this? Like you I think it's over the odds as it is.

[quote name='zero9' timestamp='1418241998' post='2628414'] Do you have anything at home you can plug a bass into, such as a hifi, or some computer speakers? These would be fine for low volume practice, however, you may need either a small mixer or interface in between [/quote] I was just going to suggest this, or specifically running through a computer with some speakers. Not tried this myself but I know others here have done so. Just be aware that bass is punishing for speakers, and the merest hint of buzz, fuzz or any other nasty noise should have you turning down and/or reducing the bass frequencies. Any particular reason why it's got to be this weekend, other than sheer excitement? You can do much better than a little practice amp for less than £100 if you can wait and save, using your PC/speakers in the meantime. If you can't wait I'd look at a Peavey Micro Bass, which are cheap and plentiful second hand. They were a solid recommendation on here for those looking for practice amps until they were discontinued a few years ago.

[quote name='xgsjx' timestamp='1418113567' post='2626863'] This bit doesn't add up. If he gives you the tops, the difference between the value of all the cabs & the value of the amps is £63, right? So if you sell them for what he estimates and he sells the amps, then you're £63 down on what he gets. Now you pay yourself £63 out of that??? What make is the sub? [/quote] I think he means that the guitarist isn't giving him the value of the speakers in cash, but is giving the OP £63 difference in value between the mixer/amps. Although they should actually be splitting that £63.

[quote name='neptunehealer' timestamp='1418077090' post='2626741'] I need to know the make and model etc. I asked him for these and he said 'don't you trust me'! as if. So he never gave them me. He isn't giving me the money, he wants to give me the speakers so i have to sell myself. Or could i use them and just buy a mixing desk to get another PA? [/quote] You've got a sub, so check out the value of that. If that roughly tallies with his valuation I'd go with what he has suggested. It's just not worth the hassle of drawing things out.

[quote name='neptunehealer' timestamp='1418073545' post='2626659'] This will explain how he came to £63: [color=#373E4D][font=Helvetica, Arial,]If you keep the speakers all 4 they combined are worth £536 you can choose to sell or use in a new project.[/font][/color] [color=#373E4D][font=Helvetica, Arial,]Of course I will pay you the difference Between £599 - £536 = £63. [/font][/color] [/quote] Whilst his arithmetic is correct, the calculations he's used to get there aren't. In short, if his valuations are reasonable he's paying you £31.50 too much! [s]Edit: Scrub that, he's better at the arithmetic than I am![/s] Edit2: As you were, I'm just confusing myself here. I need a lie down...

Have you got Facebook selected in your social synch?

[quote name='NickMK1' timestamp='1417968582' post='2625556'] Hi, I have a Hydrive 410 cab coupled with an HA3500. Used extensively over the last 3 years and very pleased with the sound. I've had the cab rewired to 4 ohms to take advantage of the full 350 watt output and louder than I have ever needed. Tend not to use the tweeter as very bright in use. (3 way switch). I'm playing in three very different style bands and between the amp and cab can get a very nice sound for toppy contemporary covers stuff, warm mellow sound 60's covers and large variety for 80's and 90's covers with my functions band stuff. I'm also using a Hartke boost / drive pedal (very good and under rated). One driver blew quickly and was replaced under warranty. No problems since. Pretty bullet proof I think. NickMK1 [/quote] Just a thought, but an 8 ohm cab can't be rewired to 4 ohms. It can be taken down to 2 ohms and a resistor used to bring it back to 4 ohms, but then half the power would be lost to the resistor.

Another recommendation for studybass.com, as well as the recommendation not to skip bits! Sorry, but I did notice that the book you linked to does have info on how to read the notation. And to answer your question, yes that seqeuence of notes is just one bar.

[quote name='Count Bassy' timestamp='1417963436' post='2625473'] Resistance [i][b]will[/b][/i] have an effect if there is capacitance as well, because the two together form a low pass filter. The cable mentioned reduces the effective capacitance by a large amount, so the resistance is that much less significant. Unfortunately, [i]in the real world[/i], there will always be some resistance and some capacitance.I [/quote] Yep, that's what I've learnt. [quote name='icastle' timestamp='1417964423' post='2625486'] +1 And in the real world a splodgin of capacitance and resistance is going to make b*gger all difference. It's always been the way and it was never perceived as a 'problem' until marketing people told us it was - we've just compensated without realising it by using tone and volume controls. [/quote] And also that I'm clearly a sucker for marketing.