Lw.

Nice review - quite tempted for a cheapy.

Please do post a review of that jazz when you get it - if it's even half usable it'll be a bargain at that price!

Looks great - have fun!

Yodel have proven themselves several times with me for bring the worst postage company out there. They're just awful, hopefully everyone will just go over to DPD as they're great! Did the actual process of paying for everything up front work out ok though? I'm thinking of buying from the us as the fx rates are so good at the moment so would be good to know...

Returns are usually fine nowadays (though I've only dealt with UK companies). If your requirements are really specific it would probably be worth the day trip to a shop to try them out (esp if you're spending a large amount) - you don't have to but it means no being rushed or worried. Means you can also haggle for a cash payment price...

It's best just to tell them the truth; say you thought the band were great & really liked the guys but you didn't realise the journey would take that long - should be fine. Out of curiosity though; how did you manage to take that long to get to Reading? I get the train through there every day & it's 25 minutes on the train from Paddington!

The answer to that question is always yes, regardless of what bass you already have. I can understand wanting to go up from the sister brand to the main one too, though I'm not sure how to classify street cred - I have no idea what basses are cool. I would give another vote to a Fender Jazz - always a good one to have in the arsenal.

When practicing alone to start with I practice clean but once you've got the song down & you think it needs effects then move on to them - obviously some effects need to be practiced with in order to get the sound you're aiming for (correct attack etc...).

This is just my opinion but I find the whole concept of the Fender Deluxe range a bit strange; for me Fender is about classic styling & a classic sound (which is why I'm going to buy Fender as my 4-string later this year) - most if not all of the bassists of the past that made Fender so popular were using passive basses & that is the sound that I associate with Fender. If you like the Fender look but want a modern active sound I would definitely look more towards the other brands that borrow the Fender look but pack all the modern bits in - for the price of a deluxe you could get a killer bass from one of the others...

Isn't listening to music & working out the bass line one of the foundations of playing the bass? Guitarists might as well use an app the listens to their chords & plots a bass line for them. Need a bassist? There's an app for that...

If you're getting paid jobs like this it might be worth getting proper professional advise but my two cents; charge whatever you think your time is worth, I would probably think about a day-rate that you'd be happy with plus expenses but obviously don't take the mick. If all goes well you might get repeat gigs to bring in more money. In regards to writing & getting a royalty; I wouldn't hold your breath. If you write music whilst being employed/commissioned the copyright will stay with the employer - you are essential being bought-out at the start so worth factoring that in when you're thinking about your price.

I don't mind the look & they often feel great to play but I'd find it hard to justify paying extra to have a normal bass sanded. If you're interested in Fenders you could get a Classic 60s "lacquer" which has the nitro finish & save the £250 fender charge to sand it for you. Buying second hand; so long as you're getting it for a decent price I think the RW look is fine.

Peavey are a good bet when on a budget - great sound & quality for the money.

I'd treat the two issues separately; the shoddy luthier work should be shown to them & a refund/rework done. Not a lot you can really do about lying other than not using the shop again - all they can really do is say sorry & give you a fixed amp back but that won't remove your annoyance. Maybe just put it down to experience & move on.

[quote name='aalam' timestamp='1387285547' post='2310198'] Thanks Lw, I can't read music sheets, so I don't know what those notes actually mean. But I will try and see if I can figure it out, I'm sure it'll pay off in the long run. [/quote] Ignore the proper written music - the chord sequence is written above in normal letters so for the most basic bass line just play the route note of the chord (so when it says "Gm7" just play a G). Not meaning to sound like I'm talking down to you (I'm not great at this either) but in it's most basic terms just keep count to 4 in your head every time a vertical line crosses all the way through the horizontal lines, change notes when you see the chord change. Once you get the hang of it you can then maybe step up to the next route note by picking a note or two in the chord shown.

Could try following the notes written above the score on the following link - walk up/down the scales as desired. [url="http://www.harmonytalk.com/download/ErrollGarner-Misty.pdf"]http://www.harmonyta...arner-Misty.pdf[/url]

It's worth looking down the list of MERLIN members to possibly find a label nearer to you - MERLIN aggregate for a lot of the indies & generally get better rates with the digital services then the labels otherwise could. Having worked at a DSP for a few years I always found Tunecore to be good to deal with, though none of them were particularly bad. It's worth repeating that Bandcamp is a completely different route than going through an aggregator - really you should be doing both. Bandcamp for selling to fans, aggregators for promotion - the streaming services are only really a promotion tool, you'll never make real money from them. Let me know if anyone wants to know specifics about how the money flows through services like Spotify etc... It's pretty boring stuff but sometimes worth knowing if you want to make money from music.

Saw them last year (or possibly very early this) at Under the Bridge - very good live & Levy had a great sound, I think he was using those same basses too. I think one of the reasons not too many people are using Warwicks at the moment is that their sound is almost too recognizable - I think they sound great but sometimes you don't want the instrument to scream a brand, you just want it to fit in with the music (that's how I'm feeling about mine anyway)...

I like the styling of the Burns, the irony of so many pick-guards for me (a bassist that plays with fingers) is also pretty good! No idea what they sound like though; any famous recordings of a Burns in action?

Bit slow to the party but done.