Sean

[quote name='Ghost_Bass' timestamp='1404834774' post='2496222'] My 1025X doesn't need the hipshot and i don't see a poin for the new cuttaway if they aren't going to increase the number of frets. They're easy to access as they were. Matching headstock is a good idea but i also like the look of the wooden stripes. A don't see any advantage in this bass comparing to mine (except for the ressonat treatment also found on the normal 202x...). I think that a neckthrough, 24 frets or a separate tone for each pickup or even a blend control would be a much nicer (and offer better results) upgrade to this bass. [/quote] I need the Hipshot. Best upgrade for this bass is a John East P-Retro. On the to-do list :-D

Interesting. This bass has been in development since the beginning of last year. I discussed it in detail with Jon last year and really fancy one. The conversation with Jon about this bass was one of the catalysts for me selling my Status. Twenty-five instruments only? Better get off and start writing to Santa about the extra J pickup and Hipshot X-tender :-)

[quote name='discreet' timestamp='1404642370' post='2494315'] That's interesting, because BC used to have membership numbers listed along with post count, etc. [/quote] I think the only way to see it now is to click on profile views and look at the URL http://basschat.co.uk/user/266-sean/

Well done to all. I remember when we shifted from BassWorld to Basschat and I was on holiday at the time without internet access and was really disappointed to come back a days after the switch and get a really high membership number of #266, and felt that the forum had been overrun by the masses. I think I was #66 on Bassworld. Here's to the next 30,000.

I have the Hipshot on mine anyway and that cutaway doesn't really add anything, its not like the top frets are hard to reach anyway. That inlay is bonkers.

A [url="http://usa.yamaha.com/products/musical-instruments/guitars-basses/el-basses/signature_models/bb2024ma/?mode=model#tab=product_lineup"]Michael Anthony signature[/url] version of the World's best bass.

[quote name='SteveK' timestamp='1404429479' post='2492667'] Then, the singer is deemed to have written the songs, and should receive the credit. The only issue is that word "mostly", if by any chance the records were to sell in any significant number, then any ex members that felt that they had contributed to the writing process might have a legitimate claim. In band situations, records aren't usually kept regarding who wrote/contributed what - if it were ever to get to court, excluding any other possible evidence, it would be down to who was the more convincing in court. But, you would have to be selling records by the shed-full (in old terms ) to make it worthwhile anyone pursuing you through the courts. [/quote] Thanks, Steve. I think that's given us some direction. I'll let the singer know and get him to make the final decision.

[quote name='hubrad' timestamp='1404393581' post='2492237'] Get the instrument/s that work for you and stop fussing so! I've played cheap things and expensive things that have left me cold, also cheap things and expensive things which have tingled my spine.. guess which ones I've held onto? [/quote] This. In my dual bass case I have my BB2024x and also my BBingray BB300/400S hybrid made of odds and sods bought through Basschat, sprayed by me and fettled by the Bass Doc, Me and a bloke in work - it rocks and you'll never see up for sale on here because none of you would give me the price of a decent curry for it and to me it sh*tes on any MM ever!

[quote name='LukeFRC' timestamp='1404320104' post='2491597'] I may be wrong but I think the main melody and the lyrics are the main parts covered by copyright- the bassline isn't considered as important - I think [/quote] That's how I understand it :-)

[quote name='LukeFRC' timestamp='1404320042' post='2491596'] There's a load of stuff of my old band on iTunes/Spotify which I had to sit down with them and discuss who wrote what of everything - not a fun process! [/quote] Imagine how little fun it'll be trying to sort out this stuff from 1989-1992! The singer has had the blessing of a couple of the old members that he still knows but I don't think they realise that we plan to record and promote the material. It'll probably come to nothing but it's causing some concern at the moment just in case we do get lucky with a song.

[quote name='r16ktx' timestamp='1404319597' post='2491588'] So if there is decent money it will all end up with the lawyers :-) OTOH if the singer has a good claim on the lyrics and melody then he's got 90% there, the other 90% being the bass line of course [/quote] I've have taken quite a bit of "artistic licence" with most of the bass lines but one is just so good I play it exactly as it was recorded in '92 :-)

Hopefully some Basschatters will be able to help... My band is recording an album of songs that were originally written and recorded twenty-odd years ago but for various reasons the recordings never saw light of day however we do have bad Tape-to-MP3 copies of the songs to work from and a few of the Recording forum regulars here have heard them. Anyway, the issue we have is that the only original band member is the singer and he can't remember who contributed what to any of the songs other than that he wrote the lyrics and came up with the melodies mostly. The band went through a few line ups back then with all members contributing to the writing to different degrees but no records were kept of writing credits. Now the songs have been rehashed (in so me cases extensively) and brought up to date by the resurrected band, when we are ready to release the album, which is ten of these old songs that have been re-recorded, how should we go about the writing credits so as to do things right? Say for instance someone picks up one of these songs and wants to use it, we need to know who gets the royalties. Feedback so far on the songs has been really positive, it was definitely a reason I joined the band and they definitely made recruiting good guitarist and drummer easy as detailed in other threads. Any advice gratefully received.... Thanks Sean

All the best and get well soon, Howard. :-)

Seriously, though. I'm really interested in one of these for a mini version of my future rig. Long story but I'm getting a 200watt head made, which will be played through my Big Twin 2 and I'm getting a miniature (30ish watt) version of that head made and will need a little cab to go with it. Nice review. I'm a big fan of BF but won't get involved in the shouting matches. Our drummer can hear me properly with the BFBT2 and he's fussy so that's good enough. Actually, I shouldn't be calling him a drummer, he's a proper musician :-)

Although your review is detailed I must point out that I have been left unsure of whether it's ANY GOOD FOR METAL! :-)

I'm having a 200w valve head made and have specified it so that it's switchable down to 100w and 50w for smaller venues so that I can get the full drive of the power section without demolishing the building we're playing in. I find that with my 400+ its best sounds don't come until it's way too loud.

They look like generic Korean/Indonesian instruments, like Indie or Shine, that sort of thing. Certainly nothing like you'd expect from PRS

I really don't think it matters what amp you have for Funk. Just get one that you like and play funky stuff. It's all in the fingers. Personally, I like a Mesa 400+ because it's loud and versatile and will do whatever I want it to.

That's the best thing I've ever seen. And I've seen a Porsche Panamera Grand GT this week.

Anyone got any real world experience of these? Any feedback?

[quote name='DarkHeart' timestamp='1402264382' post='2471574'] ask them to turn down half way through, if they wont ...............................................next! [/quote] We did, he did.

Everyone happy. Thanks for all the help and advice, chaps, it wa appreciated.

No.3 has accepted! I know we didn't sleep on it but there it is.

Interestingly today was the drummer's first real session with us and although I've played with him before and he was our original first choice for this band (wasn't available six months ago) it wasn't until today that I realised just how right he is and how much fire he puts under a band. It was good to be able to present a prospective new band member with us on form, firing on all cylinders and in a positive frame of mind.

[quote name='gary mac' timestamp='1402251591' post='2471376'] That's amazing that they were all ok and even good. Even more amazing that none of them appeared to be fruitcakes, ego monsters, flakey or any of the many other potential problematical characteristics. [/quote] Yeah, it's amazing. I must say that I enjoyed all four sessions and had my eyes (ears) opened to what the band could sound like. No. 3 was about as perfect as you could expect. We desperately tried to find negatives but when "he's got a French car", "he's tall", "he's um, I don't know" are the biggest minuses then Ia think you've found a winner. We managed to have enough of a chat with each to get a feel for them as people and we asked some of the standard questions like Señor Del Var suggested. All in all a very positive day and hopefully we've found the one.