ossyrocks

£4 per unit seems really expensive to me. It's been a while I admit, and prices have gone up a lot since, but the band I was in about 10 years ago were paying less than £1 per CD, for jewel cased inc. artwork, printing, barcoding etc. I'm still in touch with them and could find out where we got them done. We used to buy in the order of one or two thousand at a time though, and get re-prints done when we ran out. We had four albums at the time, and simply couldn't store the volume of CDs at home. We charged £10 per CD and they sold well, sometimes CD sales exceeded gig fees, so it's a great way to top up what you're getting paid. Rob

I've just spoken to Will on the phone and he tells me it will be here tomorrow. He also said that I should be prepared to be blown away by the condition of it. It's a 1987 MIJ PB-62, in the original box, and it still has the plastic film on the pickguard. He says it looks like a brand new bass! I might put a tort guard on it just to save the original with the film still on it! Black/tort/rosewood P bass Mmmm.

I’ve bought two new sets since I sold you that set! I now have them back on my ‘73 and a set waiting for my new bass to arrive. The ‘78 P and the Jazz are keeping their LTFs. It’s nice to have a bit of variety.

Me and Tony will arm wrestle for your TI’s. He’ll win.

Cards on the table, my friend is letting me have it…😂 I’ve always been a fan of 80’s and 90’s Japan guitars. I still own one strat, it’s Triggers Broom now really, but it started life as an ‘83 Tokai. I’ve owned a few Fender Flames and Esprits too, which are great quality guitars. I need this bass to be a the one I don’t worry so much about on gigs and jams. I’ve been gigging my ‘73, and will continue to do so, but a couple of times recently I’ve been nervous about it in some situations. I bought a ‘78 to use instead, but that’s in really good nick and getting quite valuable too. I also fancy a bass that I can try maybe a different bridge, or guard, or pickups, or pots etc, still keeping the originals and not making permanent modifications of course. I’ll check out that link. Sorry to the OP for the thread hijack too. Rob

They will get better!

In doing a bit of research I found this little summary of Fender Japan production history and timeline. It's interesting if you're into this kind of thing. https://wgsusa.com/blog/ultimate-word-made-japan-vs-crafted-japan-fender-guitars-mij-better-cij Rob

My friend is reassured and has purchased said bass. He is very much looking forward to receiving it. Thanks, Rob

What’s the nut width on a MIJ P reissue from the 80’s? Asking for a friend… https://bassbros.co.uk/product/1987-fender-japan-pb-62-precision-bass-reissue-mij-original-box/

I tried and tried to love my AVRI, it was beautiful and sounded immense, but the nut width defeated me in the end. The Vintera is the same, 44mm. My 70's P's are 41mm, it doesn't sound like much of a difference, but it feels like a lot under my fingers.

As a guitarist in my previous life for decades, I would say that the one who can’t change key, can’t play, end of. That shows a complete lack of any basic understanding and you should let him go. The other one just can’t be arsed. You also have a keys player, so you only need one guitarist. I wouldn’t want to play in a band with two guitars and keys, even if I was playing guitar. Rob

Cheers. All good info. I do have a mate who owns/runs an agency, but not for our type of stuff, he books name bands, but he might know who's around. I think in house PA is going to be the main thing we'll need to be in place. I don't fancy running a rig of our own big enough to do this!

I've just sold a cab to David. Great comms, prompt payment, really easy. Top gent, recommended. Thanks, Rob

I don’t think any of them would call themselves a jazz musician really, especially me, even though I play in a jazz band. I have an aspiration to be a jazz musician, and I suspect I will aspire to it for the rest of my life. They just seem to be sensible folk, competent on their instrument, with experience of bands and playing live. The guy who’s assembled the band has done a good job, but I do see that he’s got lucky in many ways. It could have been very different. I do know what you mean about some JMB ads though. I answered one a while back, before this current one, where an “established band” were looking for new members inc bass. He told me about some of the gigs they had done, and I was able find them, including video of the events. I soon realised that the “established band” was just him, and the rest of the band had done one/sacked him. When I noted this in conversation, he ceased communication. I’ve even auditioned for bands from JMB, where I’ve had to drag the rest of the musicians through the songs like a ball and chain on my ankle, and I’m the one auditioning! Then to be told, yes, you’ve got the job, and me to say politely, no thanks. It can be quite disheartening searching for the right band/people. Rob

I've been following this thread. I have nothing of importance to add though, you guys have it all covered. I went into Promenade Music last week to discuss wireless options and see what they had. I wanted something simple, and there were a number of cheaper alternatives, but I was recommended the Boss WL-20's for what I do. That's what I now have. I've done two rehearsals (two different bands) and one gig so far with them, and another gig today. Going wireless has been a liberating experience! I couldn't go back now. Our sax player is wireless, so I've made sure she's up and running before pairing mine, and no issues so far. Rob

I don't know the version yet for that one. For the first nine of the second batch we have youtube links, for this one we have two voice notes on whatsapp, which is a bit of a pain. I'm just going to absorb a few versions so I can play something suitable when I hear what everyone else is doing. It's interesting you're in a similar band with similar line up. I think the intention with this band is to have two female vocals too, but we've made a start after finding one. I've been in big bands before, 8 to 10 piece (on guitar in those days, 20+ years ago), and I know how hard they are to manage. I just hope this one can get off the ground and hit the point of minimum rehearsal, maximum gig. I'm well out of the loop when it comes to venues and bookings though, it's been a few years since I dealt with that for a band like this, not that it's going to be my responsibility with this band. I can book little gigs for £200 for my jazz band, but this is going to have to be £more, with the potential for a lot more. I'd be interested to know where you play with your band and what kind of money you go out for, you're not that far away from me, and this band is based around Preston. Also do you have an agent? Maybe PM me if you don't want to share publicly? Cheers, Rob

Well, I take it back. I Wish is not that hard when you actually look at it. Got the notes down in about 15 mins. Playing it in time, with that tone will take practice.

I should post the setlist so far, especially as I'm going to find one or two of the second 10 a bit tricky. Song, Artist version Brown Eyed Girl - Reel Big Fish Hard to Handle - Commitments Rocks - Primal Scream Superstition - Stevie Wonder Valerie - Any Winehouse Son of a Preacher Man - Moonraisers Tainted Love - Gloria Jones Hot Ska - Skameleon Hold on I'm Coming - Beverley Knight Don't Stop - Fleetwood Mac (live version with horns) Lady Marmalade - Patti Labelle Piece of my Heart - Beverley Knight Rescue Me - Fontella Bass Mercy - The Third Degree 10/10 - Paolo Nutini Gangsters - The Specials I Wish - Stevie Wonder Unchain My Heart - Joe Cocker (2002 live version) December '63 - Frankie Valley Seven Nation Army/Sweet Dreams mash up - ska version It's varied and interesting for sure. Lots for punters to like, and lots for me to like in terms of interesting and cool bass lines. The first 10 are more or less there after one rehearsal. I have much less time to work on the second 10 though, and I think "I Wish" is going to take me a while....... There's going to be another 10 released upon us after the next rehearsal. For the time being I'm happy to just be a part of this, and I'll learn whatever gets thrown my way. I guess in the longer term, the rest of us will have more say in the material that gets added. Cheers, Rob

I’m with you. I’ve always known people beforehand, known what and how they play, jammed, talked, hung out, been the pub etc. Usually bands were formed with friends. This is totally new to me.

I’ve been progressing steadily in my playing since taking it seriously early last year. I landed a gig with a local jazz band, after meeting folks at the jazz jam in Lancaster and getting to know them, and we do the odd gig. We played yesterday at the Ribble Valley Jazz & Blues Festival and went down well. However, I’ve kept looking for other opportunities, JMB and Facebook being the main searches. Anyway, a few weeks ago, someone posted on JMB and Facebook looking for musicians for a soul/ska weddings/functions band. I answered the add, and after a bit of to and fro was sent 10 numbers to look at. This guy is a trumpet player and has sax and trombone already lined up. Basically it’s a horn section forming a band around themselves, and they’ve been playing together for about 20 years. A WhatsApp group was created, and over the course of the last few weeks, new people have been added to the group and introduced along the lines of “welcome Joe, our keyboard player”, “welcome Suzie our vocalist” etc. In the end it’s ended up with nine people in this “band” on WhatsApp who don’t know each other from Adam, and have never met, played together, or have any clue what standard anyone is at. Male and female vocals, keys, drums, guitar, bass (me), and three piece horn section. A rehearsal room was duly booked, and everyone showed up, to meet each other for the first time and play these 10 tunes. It was a nice room, plenty of room, with good PA, back line and drums provided. I had a Hartke head through 2 4x10 Ashdown cabs. Now, based on past experience, this could go in any direction, however, from the first count in of the first number, there were grins all round. Everyone had done their homework, the keys player and drummer are great, the guitar player knows what he’s doing, the horns are in tune and locked in with each other, and the singers can bleeding sing. We rattled through the 10 numbers twice, only pausing to fine tune starts and endings, agreeing where the pushes should be etc. I couldn’t really believe it, it was like a good band from the very first note. Some tunes we did again after wondering whether that perfect run through the first time was a fluke, but it wasn’t, it could be replicated. Get home later, the WhatsApp group is happy, another 10 tunes are distributed, rehearsals are booked and there’s talk of booking gigs already. I’m still not sure how this actually happened, I need to pinch myself. Is this a unique occurrence, or does this happen often? Anyway, I’ve got 10 more tunes to learn in the next week and a bit, and some of them are a bit tricky, so I’ll be practicing every night I can between now and then, as I know now that the whole band will have them nailed before they arrive. Rob

I am curious about the new Little Marks myself. I really like my LM3 and I’ve been wondering how they compare, and whether or not they’ve taken everything I like about them and sprinkled a little more magic on top. Have use got any experience of the older models?

Without being in the room with it, it’s hard to compare with mine, or my Elf. I do know that I found the Elf too noisy to use in the lounge as a practice amp. I suppose if you do need to mic a cab for recording, you could setup the amp itself away from the cab and use a longer speaker lead. That’s easily doable in a studio setting, not so easy to do on a stage. Perhaps you could also find somewhere that stocks your model, and go and take a listen to compare, maybe even take yours. If it’s much noisier, then you may have a case for a warranty return or repair. Rob