NancyJohnson

Nah.

I stopped all that malarky November last year and don't miss it in the slightest. I just think of the £££s I was haemorrhaging in weekly (and frankly unnecessary) rehearsals and petrol running around southern England. This, combined with the fact that I was losing precious weekends trawling around with three unpleasant asshats, playing to crowds of less 25 people, with promoters not paying out, when I could be spending quality time with my wife and friends was a bit of a no-brainer. I'm enjoying just being part of a studio project. Might try and find a band at some stage, but now? Nah, not worried.

I'd honestly give Facebook a punt and drive things yourself. Start something new. There's plenty of musician groups on it. As an aside, JMB is a strange site; too many idiots, too many people bigging themselves up or bragging about albums already recorded and gigs waiting. It has potential to be brilliant, it's beautifully simple but for the idiots who use it. Interestingly, I found a very decent drummer through our little village FB page, I'd posted a desperate plea of, 'does anyone know a drummer?' and it went from there. Everyone knows someone who knows someone. Good luck finding something.

I haven't owned a Warwick in years, but I'd like nothing more but for every Warwick to roll off the production like with black hardware. This alone makes some very pretty natural finished instruments just pop.

There's a loooong thread elsewhere about this!

We recorded at the guitarist's studio, which is spread over three rooms off his house in Sandhurst, Berkshire. I used a variety of Tech21 stuff - GED2112/BDDI and the dUg DP-3X - but in the main we ran two feeds, effected and clean. The guitarist produced. The bass tones from the clean feed were pushed through the Ampeg SVX VST-plugin; I don't think we used much of the effected stuff at all. As an aside, it was a very strange recording process. We hadn't played anything as a band at that point, I was just called and asked whether I wanted to 'do some bass', so I just turned up like an eager puppy. It was like, 'I need four bars here, sixteen bars there,' and so on. There weren't any complete songs, but about four or five days later, I would get an email with a very rough sketch of the song I'd recorded earlier; this carried on for 8-10 weeks, I'd go in, do stuff, then go in and revisit the old stuff, do new stuff. We had 20 songs at the end. A couple we just reworked parts into other songs...there was one we didn't touch but ended up not using, which was called Box Of Stupid. It had some Trump samples on it. It just didn't fit, so we parked it pre-mastering. We start #2 in about six hours.

You bought it? Thanks mate. Honestly, you didn't need to do that. PM your email address and I'll send you a couple of other things. There's a radio edit of Light 'Em All Up (changed radio chatter, no use of the word b*stard) and a bass and drum mix of 3rd Shock Army Sniper (I did this on my own over a couple of takes and just left it with the guitarist to do whatever he wanted). Thanks!

If you have Spotify/iTunes etc. it's been up on there for about a month. Bandcamp as well (amazingly we've already recouped the outlay of recording it). I'll post a disclaimer here...it's not an easy listen, but as a collection it kind of works well. It's more shouty and aggressive than we planned; it just evolved that way the further we got into it. Just search on 'Lutz' and 'Nowherebound'. Cheers!

...well in a somewhat bizarre turn of events, I interviewed for a position last week and the agency just called and told me I'd got the position and start on the 17th. Amazingly, I'd initially turned the interview down, largely questioning my abilities, but the agency were told the decision was unanimous and I was head and shoulders over the other applicants. Feeling a bit happier.

I'm knocked out that my band (Lutz) have had our album listed on a couple of these top ten releases of 2018 things; I'm assuming this came out of the New Music Saturday podcast and a few people have just picked up on it. At the very least, it affords me a little smile after what has been a fairly traumatic year in which I lost my father-in-law, my mother and my job. [Edit: I also emerged from the wreckage of losing my band, the band I formed eight years ago, to a bunch of fairly unpleasant interlopers.] 2019 has got to be better, eh?

I was looking at this on a very small phone. I'd concur with this not being a Fender neck from that period as well. At that point Fender joints were a standard rectangular four or triangular (to accommodate their micro-tilt system. Too many laminations and the fingerboard wouldn't overhang at the dusty end.

Whaaaat? This doesnt compute.

If it were me, I'd bolt everything together first to see whether it intonates properly, which would obviate the necessity of filling holes in the neck and neck pocket. If they're both genuine Fender parts, the holes should match up. Beyond that, you're simply making good on filling the gaps in the neck pocket, sanding and staining. Borrow some clamps. Any decent woodshop should have a decent stock of veneers; I'd take the bolted together bass along and see what fits. This would save you sanding time.

Aside from the Hamer Cruise Bass, the Ex-Factor was the only other bass that gave me an instant wobble from the first time I saw it. John Taylor at Live Aid. It was a, 'What the feck is he playing?' moment. Never played one, I doubt I've ever even been close to one, but it's always been there in my mind. Had my inheritance money come through, I might have taken a cheeky punt at this one, but right now, noooo.

The awful thing with the 6-stringers is that frankly horrific headstock!