Sean

The drummer in the covers band I play in does the between-song banter. Over the years it's become an integral part of the show because he's genuinely funny and the audience responds well to it. Sometimes it's so funny I have to really focus on the intro to the song rather than his chat. None of it is scripted, it's always different, it works. I'm not a fan of the chat between songs generally, I like a bare minimum, head down, play songs, thankyouverymuchgoodnight but in this band with that specific guy, it's magic. When I'm editing the live show recordings, I trim out the chat where I can but it always makes me laugh out loud when I'm editing it especially if I catch something I missed on the night. So, to answer the OP question. It depends. Sorry.

I just received the regular newsletter email from rguitars.co.uk. I think it's safe to say that Richard is slightly optimistic with this... He's promoting G&L being back in stock. Hmmm.

That’s what I had on my Trans Orange one. It looks like it went wrong in the wash.

I’ve already done the return. Royal Mail collection tomorrow and request to replace with exact same item.

My 2 twin packs turned up today and one has only got one set in it!

I guess an East SR preamp just drops in if anyone wanted to “convert” one?

There's a decent one on eBay. It's got a gash but it's priced accordingly. https://ebay.us/m/r2dTGV

There's some shocking stuff in there. I had no idea how bad it was.

What a tw4t. Everyone knows you have to go full fridge and run an 8x10 when you've got an SVT!

@basexperience could you give us a quick run through of the process? I've got a lot of isopropyl alcohol here.

I’ve just spent invested my £37 voucher and £8 more... £45 for 4 sets. 4 sets of Legacy from Strings Direct is £50. This lot would be £64. 4 sets of HQS Harley Benton strings would be 4 x £8.60 + £10 shipping = £44.40.

Thanks @warwickhunt. I got given £37 in vouchers this morning as a thank you from a client so will have another look. I use the EXL170-BT set (45, 60, 80, 107) on the Eb-standard Spectors but am willing to shift gauge a bit for that kind of bargain. I ordered 2 sets of 12s just before I got my 12 @£22 a set each. They were pictured as a twin pack but arrived as two separate packs. All legit, the players points went on no issue. The packaging was a bit crushed and I think they’ve probably been around a while but the bags were intact.

Sad news indeed. There’s something about G&L that just doesn’t fly with the market and it’s been that way for years. Prices of used USA basses are proportionately low compared to US Fender or US MM equivalents. Some of the US L2000 instruments that you see for sale used go for Japanese Fender prices and the Tribute line used prices are rock bottom (I’ve sold a couple in the last 2 years). I had a few of each and the quality/sound/playability is as good as anything comparable but they have remained very niche. A few times over the years I’ve had compliments on my G&L basses especially a US trans-orange L2500 I had but people said that they couldn’t get past that headstock. One person said that the G&L headstock makes it look like it’s aimed at the country music sector. I couldn’t disagree. G&L has lacked faces too, in a recent Andertons video on why Andertons is still in business, Lee Anderton says that they keep good stocks of and sell lots of instruments that customers’ favourite guitarists/bassists are playing. G&L just isn’t on the radar of many buyers in the way that Fender and MM are. There isn’t a high profile artist roster and there’s not a history of legendary stars out there playing them in the same way you see Fender and Gibson etc. G&L marketing focuses on the Leo Fender legacy and “the best instruments Leo made”. All commendable and worthy but I don’t think that figures in the buying decision of many people. The landing page of the website says “Made in Fullerton since 1980” - who cares about this except for me and few other crusties? It presumes that you know the history of Fender and significance of it, whereas most Fender owners have no idea where Fullerton is nevermind that it was where so many great Fender instruments were made. The product info is all “features”, like Saddle Lock Bridge and Dual Fulcrum Vibrato; that’s like a car manufacturer putting Fuel Injection, 16v or ABS on its products, it’s old hat, we expect all this and a lot more these days. On the homepage there’s a bloke in a G&L top and jeans sitting down playing a natural JB. Then there’s pictures of Leo and other G&L blokes in plaid shirts in the workshop, one is even holding up a competitor's guitar (it’s a Fender). That’s the shop window of G&L today. None of that helps get these amazing instruments into the hands of potential buyers. I’ve dealt with G&L customer service a couple of times in the past and it’s so far above and beyond expectation, it’s like dealing with a boutique builder that focuses on your need, they’re fantastic. I’ve had a pickup sent out FoC from California and another time they shipped me a tuner to replace one that was bit stiff. I really hope G&L comes through this in whatever way, the products are fantastic but they need a serious business rethink to get them out there selling decent numbers. Spector went through a rough patch in 2007-09 with distribution, image etc. Prices were disproportionately low but now it’s bounced back. Fender went through a rough patch in the 80s until the management buy-out. If someone like Marcus MIller can drive a new brand (Sire) to the point where it’s becoming a benchmark within its market position then surely someone can inject enough magic into G&L to make it a brand that is on a lot of people’s shortlists.

Yes, I've seen a few "shipwrecked" Subs out there. I've only ever owned 2 MM basses; a 5 string Ray for a few weeks and a Sterling (USA) that was lovely but got sold/traded for whatever reason. It could be a future endeavour, who knows what this crazy world of Bass GAS brings 😃

That's lovely, Richard. There were a few times back in the day where I nearly bought one... They were an absolute gem for the money. The likes of these don't exist anymore.

Have you had a change to play them yet? I've not really played DiMarzio, it would be interesting to get your take.

My 400+ is poorly and needs to visit the Amp Hospital, it's tripping out the socket circuit at home 🫣. So, it is highly unlikely it'll be ready to go to the SW Bass Bash by 12th October. I wonder if anyone else has a 400+ that they could take to Taunton. Saying that, who's going to bring an 800D?

It's good to know Fair Deal has responded accordingly.

I've owned a 425x and a 2025x, and I've played a 1025x. the 1025x shares components including pickups with 2025x and has a similar/same sound because of that. I picked up a 425x as a gigging backup to the 2025x at a very good price, hardly ever played it but it was a worthy instrument and excellent quality. The 1025x is of similar quality to the 425x i.e. excellent as most Yamaha basses are but sounds different due to the pickups. Yamaha is generally good at differentiation of different levels of instruments and nailed it with this series. Each step up in price delivers a step up in what you get. The 1025x is the bang for buck instrument in this case especially if you can find a good one used in a private sale.

We talk a lot about Spector basses but don’t share the sounds very often, so hopefully this’ll make a change. I’ve been editing the recording of the cover band’s last gig and thought I’d just post these snippets of my gigging basses. Depending on the song, it’s either the Bahama Blue (Jap Import) Euro 4 LX with the maple board and black blocks or the Amber Euro 4). Both have EMGs and an LHZ-03 dimed going through a GK Fusion 550 with an Origin Cali 76 comp. FoH is taking a DI from the 550 postEQ+FX. The 550 is going through an LFSys Monaco on stage. Recorded with a Zoom H2n mounted above the mixing booth at the back of the venue. These clips should give you an idea of what it sounds like both up and down in the mix. You can hear some of the top end sizzle and clank cutting through in places. Is a Spector a one trick pony? Maybe. But it’s the best trick in the World and it’s a golden winged pony. YFKI! 😀 RDVictoria 240825 Zombie Ending.mp3 RDVictoria 240825 UPressureIntro.mp3 RDVictoria 240825 LoaPsection.mp3 RDVictoria 240825 DSBsection.mp3 RDVictoria 240825 HLTWsection.mp3

Being a shameless Mesa fanboy (I've had a Mk IV guitar combo and a Stereo 2:50 power amp) gigged a Carbine M6 for years, currently have a WB Scout and a 400+, I'm interested in @agedhorse view or the industry take on new solid state analogue amps. The new Gallien RB Legacy heads were a huge surprise, they're big, heavy and really expensive and seem to be bucking the trend that we're seeing with the move to class D. I thought the Fusion 550 would be the last big analogue GK but was wrong. I look at the RB Legacy (I own 3 GKs) and wonder what customers, that don't have a road crew, touring budget and trucks, are going to buy them. Mesa must've gauged the market and conceptualised, however briefly, doing a modern take on a Carbine/BigBlock/Titan? Like a WD/TT/BD-800 front end with a big analogue power section?

I shall be taking both my 400+ and a Monaco (two actually) to the SW + SE Bashes if anyone is interested. Hearing the 400+ vs the 800D through the same cabs would be interesting.

Would you like a slot at the SE Bass Bash to regale us with your 1516 dits, Chris? I'd be front row, obviously 😀

Just to bring you up to speed with the last 15 years. It's the same people, chatting the same chat but the gear got lighter, GAS got more intense and basses became a lot harder to sell. Other than that, you've not missed anything. 😀