EliasMooseblaster

[quote name='DaytonaRik' timestamp='1391085717' post='2353038'] Well, patience and persistence paid off and yesterday I was rewarded with a near mint 2010 GibsonThunderbird IV for the princely sum of £750! Exited much! NBD is next Wed/Thu depending on delivery. This is worse than waiting for Christmas!!! [/quote] My hearty congratulations, and I hope the two of you will be very happy together! I got my 2011 'bird through the marketplace on here and I can honestly say it's the nicest bass I've ever owned - I seem to have been cured of any and all gas since last October!

BUT IS IT FLAT OR ROUND?

[quote name='discreet' timestamp='1391003787' post='2352136'] I bet he won't follow through (arf). It's an astute bit of publicity, nothing more. [/quote] I don't know, I can remember when "puerile digital arts community" b3ta.com ran a week of photoshopping Prince. The results were generally hilarious (provided you weren't Prince, I guess) but his legal team didn't like it one bit. A rather sheepish note went up a couple of days later to say that his legal team could probably sue them for more than their servers were worth, so could people stop posting humorously mangled pictures of Prince, please?

[quote name='TimR' timestamp='1390912266' post='2351115'] Not really. It's a comment in the state of music. When venue owners are complaining that it's the bands that are the problem, the venues are the ones that should be exercising some sort of quality control. It's all well and good packing your venue with band A's 'fans' bussed in from out of town one week, but then you can't moan when the next week no one turns up to see band B. It's a short sighted business plan doomed from the start. Most 'hobby' musicians are very unorganised. [/quote] [quote name='flyfisher' timestamp='1390912782' post='2351122'] Perhaps. So why does it seem to still be so prevalent? [/quote] I obviously won't be the first to point out that the problem cuts both ways - I've shared bills with plenty of juvenile bands who behaved like they were owed a living, and I've encountered several venue owners and promoters who don't see why they should pay for a band, when they can find plenty who will play for free. Unfortunately, a lot of bands need to put away the romantic side of things when off-stage and run things more like a business - bookings, promotion, sensible touring schedules, etc. For example, I've not been to a Dick Venom gig, but it's clear, when you compare their onstage image against BRX's posts on here, that they've struck the right balance between the two. When a venue owner asks why he should pay an 'originals' band for making some noise in his/her licensed space, perhaps the band needs to be able to answer, "You're hiring professional musicians. We'll set up, play and clear off on time with surgical precision, and do what we can to keep your punters entertained, and keep them drinking. If you want a free band, don't come crying to us when you get a bunch of stroppy, disorganised sixth-formers behaving like Axl Rose on your stage area." On the other hand, the promoter or venue owner needs to be firm about who they do and don't invite back - or even who they cut short. I've never forgotten a particularly stroppy bunch of kids at one gig who turned up late, borrowed bits of kits that they'd forgotten to bring, went to the bar instead of the stage when they were due to go on, and shouted abuse back at anyone who tried to hurry them along. In the end, it was the sound engineer who went and told them, "if you don't stop f**king around, you won't play at all." By this point the promoter in charge of the night was, of course, nowhere to be seen!

[quote name='xilddx' timestamp='1390830930' post='2349960'] This is what Kit wrote, and I agree. [color=#333333]This would be a great list if it addressed that fact that the vast majority of bands playing small to medium venues do. not. get. paid...[/color] [/quote] I also think Kit is spot on with that one. The rest of his list is quite astute, judging by my own experience, but his first point - the idea of a band demanding a rider - is frankly alien to me. "You can get a hot meal, some water, and two drinks each"? I can't remember the last time I played a gig that came with that good a deal!

[quote name='Funky Dunky' timestamp='1390654617' post='2347953'] Well this is the thing - the nut seems like it may need filed down. [/quote] Have a butcher's at these: http://www.ebay.co.uk/itm/HOSCO-Nut-Slotting-Files-Bass-Guitar-/151153507703?pt=UK_Guitar_Accessories&hash=item2331737d77 Best £65 I ever spent - it's amazing how much of a difference a little bit of nut filing can make to the playability. Oh, and best of luck with the truss rod - I've always been fearful of adjusting that one myself!

*salivates* I did own a CTM-15 head for all of 24 hours (I changed it for a LB30 so I'd be able to play at band volumes). It did sound bloody nice. And I have been thinking about a new practice amp; my beloved old Laney is starting to get a little senile. Excuse me, I think I need to go and get a towel...

I've stuck to 45-105 almost religiously, and Rotosound Swing Bass at that. I mean, there was that time when I ended up with a hybrid 45-100 set by mistake, though I can't say I noticed a great deal of difference. The only exception is the 8-string, where it all starts to get a bit strange...but then that's also my only short-scale (30") bass, so I guess it's a good point to throw convention straight out the window.

[quote name='Si600' timestamp='1390250050' post='2343217'] Some of you have said to get a hot pickup to better match the existing Fender standard P one. Er, what do you mean by that, and how do I tell whether it's hot enough? [/quote] Spit on it and see if it sizzles. Joking aside, hot = higher impedance = higher output. A lot of people have mentioned the J pickup sounding 'thin' compared to the P, but something a bit hotter should provide a fatter, slightly louder tone that won't be drowned out by the P pickup. A lot of manufacturers quote impedances for their pickups (or you can always find out for yourself, using a multimeter!), so try and choose one which will hold its own against your existing pickup. Worth bearing in mind that even on a Jazz bass, the bridge pickup has a slightly higher impedance than the neck pickup*. (*At least, I think that's the case, though I don't own a Jazz! Anyone who knows better, please correct me!)

[quote name='Happy Jack' timestamp='1390232655' post='2342903'] I have a Mike Lull PJ5 where he's done something a bit different ... the pan control doesn't pan [b]from [/b]the P-pickup [b]to [/b]the J-pickup, instead the P-pickup is always on and the pan control simply [b]adds [/b]progressively more of the J-pickup to the constant sound of the P-pickup. I have several PJ Precisions where the pan does what it normally does and I always just use the P-pickup, but this Mike Lull system genuinely adds something since it means I can play [i][b]simple-P[/b][/i] or [i][b]P-with-attitude[/b][/i]. What I can't do with the Lull is play [i]J-bridge-pickup[/i] only, but I've never liked that sound anyway. [/quote] Now that's a pretty clever idea! Not to play it down, mind, but couldn't you achieve the same with a common V/V/T arrangement, e.g., by leaving the P volume on '10' and just twiddling the J volume to your liking? Or is this to allow you to set your P/J blend as you want it and then adjust the overall volume? (Am I basically just answering my own question as I write this?)

[quote name='Grangur' timestamp='1390219442' post='2342648'] +1 I can also understand a time limit on trying a bass too. It must be frustrating to have a customer playing a bass for an hour, then say "nahh, I don't like it. " [/quote] I have to admit, I always feel guilty trying out a bass for a length of time and then not purchasing it. It doesn't help that, along Denmark St, the shop assistants will usually come and check on me after ten minutes to ask "how are you getting on?" Now, I'm well aware that they've come over in an attempt to secure a sale, but perhaps they've got the right idea. If I just don't like the bass particularly, they're happy to try and recommend another; they've been happy to let me compare and contrast two or three. I feel like I'm getting plenty of attention, even if the underlying message is that I should make a decision; but at least that way I'm not going to sit there noodling away for an hour, annoying the other customers, then prop an expensive instrument precariously against the stool and wander out without saying anything. [quote name='flyfisher' timestamp='1390227193' post='2342796'] Cheaper, better - it's all subjective isn't it? Perhaps you're seeing the demise of one aspect of the business (outright sales) and the rise of another (service and support)? Change doesn't mean all or nothing. I doubt this is a problem that only affects music shops though and, personally, I would say that local councils are a big part of the problem because of excessive business rates and restrictive and/or expensive parking charges. ... Those are the options available to consumers these days and it's quite clear which one they are increasingly choosing. So what do councils do when faced with high street shops struggling and going bust - yep, increase business rates and parking charges in a futile attempt to maintain their revenues. It's not too difficult to see which way the tide is turning. [/quote] Nail firmly on head with a laser-guided hammer. Back when my old flatmate and I were still brewing beer regularly, we used to visit a tiny brewery near Hoxton that also sold brewing supplies. We could have got the stuff cheaper online, but five minutes' conversation with one of the guys in the shop gave us enough invaluable advice that more than made up for any extra cost. Sadly, the council effectively drove them out of London. The parking fees on their street kept climbing until it was nigh-on-impossible to get their delivery lorries up to the door. We heard they'd relocated to Sussex and now only sold brewing supplies through mail order. A great loss to two students who just wanted to learn how to make a convincing pint of bitter.

Cracking performance, Clarky - a pity the stage sound was a bit off, it sounded spot-on out of the FOH! (And very nice to meet you too!)

Consider it signed. The attached nicely sums up my feelings on people like the plaintiff:

[quote name='Dad3353' timestamp='1389802006' post='2338067'] ..? Not in mine, as I recall (I was an Atari 68k programmer for a while... ). [/quote] Ah, you'll have to forgive this young whippersnapper - my old man had a 520 when I was very young, so I've no experience of the older Ataris!

[quote name='Happy Jack' timestamp='1389481850' post='2334747'] Hagstrom were making a well-regarded 8-string back in the late 60s. [/quote] ...and Hagstrom have since reissued that well-regarded 8-string. I've got one! They're a bit different from the original '60s designs, but they still sound amazing.

[quote name='walbassist' timestamp='1389792426' post='2337928'] It's amazing how different people's experiences are... I gigged my LB30, in a Weller/Jam tribute band, with Ashdown 2x10 and 1x15 cabs and PA support in pubs and clubs for 18 months without any problem . [/quote] Perhaps this is the root of the problem, though - you're trying to sound like Bruce Foxton (and I'm trying to sound like John Entwistle), so plenty of grit and low-mid clank is fine for us. Sounds like the OP wants more emphasis on thick, booming bottom end. Admittedly I often end up cutting the lows on mine, but I can see how 30W might struggle to produce that really deep bass cleanly.

Absolutely incredible. (Although, we all know Atari STs had the superior sound chip...)

[quote name='MiltyG565' timestamp='1389732562' post='2337375'] That may be how you say "Squirrel" in French, but the Squirrel that Paul has is an English Squirrel. I follow a French guy on Vine, and he found a Squirrel one day. He said Squirrel like "Skew-www-well", which is at least 5 more Ws than is required to say Squirrel [/quote] I think the challenge is to get a French person to say "smooth." Ask him next time you chat to him. (Then prepare to be laughed at when he, in return, asks you to say "grenouille.")

Has the seller possibly assumed that, because the bass has Jaco's signature on it, it was, in fact, previously owned by Mr Pastorius himself? EDIT: Nope, just read the full description and this is not the case. Time to make a weak joke about collectible porpoises instead...

[quote name='Billy Apple' timestamp='1389700006' post='2336956'] Pics Pics Pics! [/quote] That looks absolutely gorgeous! Any idea what kind of finish you'll put on that lovely bit of wood?

Glad to hear it was good one on Saturday. I'm afraid as you were probably just getting on stage, I was just getting ready to do a second take of the bass track - probably shouldn't have expected that to run to schedule! I'll have to try and get up to the Finsbury this Thursday.

[quote name='MacDaddy' timestamp='1389527196' post='2335025'] I use 11's on my guitars, I would use 12's but I haven't found any that come with an unwound G. My G has to be unwound as I bend it while soloing and that. [/quote] You can still bend a wound G! (You just have to not mind the way it cuts into your fingertips when you do so...) Joking aside, I think Ernie Ball do a specialised set of 12s that come with an unwound G. No idea how easy they are to come by, I only know about them because the guitarist in my blues trio wanted to put some 12s on a dedicated open-G guitar but still wanted to be able to fret the G without drawing blood!

Is this cheating? It's an 8-string bass, and I don't know whether the dirt's from a pedal, or just a tube amp running close to '11.' But it's a hell of a sound: http://www.youtube.com/watch?v=v6fFtWi318s

Didn't Levi's (or somebody similar) put out a line of similarly "reliced" jeans a few years ago? I remember thinking that was a daft idea, especially given the amount of money they were charging for a pair of jeans that looked like somebody had used them to wipe their arse following a bad night at the Balti Hut. A friend of mine did have a RW Tele for a brief while, and I must admit, it was a lovely guitar to play. Never got near, say, a US Std Tele to make a fair comparison, but the RW seemed like a nice instrument. But I wouldn't have paid the extra money for a Fender employee to kick it round the shed.