NancyJohnson

I picked up a late 70s Aria Primary Bass (pretty decent P-copy) in Gumtree job lot a few years ago. £50. It needs a lot of TLC, but fundamentally it had good bones and it's a decent player.

Early-mid 80s. Band I was in had done two or three gigs, we played a lunchtime show at Richmond College, but did it right. We hired in a decent PA and played a well rehearsed 45 minute set. (I remember a girl in the audience deriding us - because we were doing it properly - shouting 'laser show' at every opportunity between songs. Sheesh.) By chance, there was an A&R guy there from Polydor, just scouting. Polydor paid for us to do a demo in a strange house based studio in Surbiton (under £200) and we had a pre-signing meeting with the label; who said within a couple of minutes that they were only interested in our (female) singer. We all decided that wasn't going to happen and walked away. Band were effectively broken from that point on and we split up a few weeks later. I do feel for the singer, even now, but she said 'no' straight away. That was it really. Never really came remotely close again.

Quick question. Looking to get a scratchplate made up for this (see thread elsewhere): Has anyone go one of these with a scratchplate? The guys I'm asking to do the work are asking if I can i) borrow one that I can offer up for sizing, ii) send to them for making, and iii) return back to to both parties. Anyone?

Is this happening?

Didn't realise! All mine went to fund the Lulls!

Did you sell the Ripper?

I'm giving some thought to having a custom pickguard made for my Hamer Cruisebass; oddly, I think I'd probably play it more if it had one. Query here is how do I go about getting one made. It's not a standard off the shelf shape; there are a few decent straight-on photos available (see below). Would it be feasible to take the fingerboard measurements and the distance to the pickup pocket and risk it? I don't need holes, I'll just attach with double-sided tape. Mine:

Alvin Stardust. Yep.

When Big Country started, Mark Brzezicki was born and still living in Slough. Tony Butler was London born and lived next door to a lady I worked with, in Owlsmoor, Camberley.

Korina. I know a few companies use it for guitar building, but never fails to amaze that Gibson rarely stray using it outside of the pointy models (Explorer/Flying-V/Futura/Moderne), but these are regularly two or three time more expensive than the mahogany alternatives. I know it's supposed to be a bit harder to work with, but body-sized slabs can be had for £60+, which is comparable with mahogany. Don't get it.

Haven't seen this on here, but it seems to be getting a bit of traction in the news. Might be of interest to someone! I can't say I'm particularly bothered or enamoured with what happened to a bass that went missing in 1969, I'd much rather know what happened to the Gene Simmons Lobue bass. https://thelostbass.com/ https://www.bbc.co.uk/news/entertainment-arts-66700300

I is taking a selfie. What is the possible worth of that photo (apart from @Clarky being in it)?

I'm familiar with this album. My jaw dropped to the floor when I realised John Edwards was the bass player on it.

I adore UFO's Strangers In The Night (even the super extended version is great). I don't possess a single UFO studio album. This is all I need from them. Haven't listened to Cheap Trick At Budokan for a while. Other notables: Aerosmith - Live! Bootleg Sinatra at The Sands The Heartbreakers - Live at Max's Kansas City Wings Over America Rachel Stamp - Stampax The only other live thing I dip into regularly is the 4CD Transistor Blast by XTC. There's live at the BBC content on there (from Rock Goes To College and other stuff) and everything has so much speed and energy. The actual albums this material is sourced from are great, but the live stuff is just great.

Assuming it's even wired up and moving air, makes you wonder whether Chris Shiflett can actually hear a single note being produced by it. It's nonsense! Nonsense I tell ya!

In this day and age, isn't it proven that you don't really need a wall of amps/cabinets behind you? I can't honestly see any merit in it in this case at all, except as mentioned before, it's forming part of the look.

It's odd, people having a moan about click tracks, backing tracks etc. etc. If anyone thinks a band like Porcupine Tree don't use MIDI and time codes to ensure everything works together is delusional. The only thing going this route is it just makes things a tad sterile.

That Epiphone is lovely.

It's a poinsettia! There's a story online of two Americans who tried smoking the dried leaves and ended up with vomiting, headaches and palpitations.

It's spent too long in a case. Intermittent issue resolved, it sounds thunderous through my gear. Thunderous...

I'm trying to justify a five string in a punk band. Tuned down to A, to boot. Just put the bass down. Thought it looked splendid.

You lucky, lucky b*starrrrrrds. I saw him at doing stand-up a Q&A at one of the guitar shows a few years back. He is a fantastic storyteller and just hilarious with it. It's kind of amazing; I had a gig with Eddie Roxy that day (which got bumped), which was quickly replaced with dinner and a box at The Albert Hall for Messiah from Scratch. Sunday is clearly the new Friday, or something.

I've got a Geezer Butler PJ set on one of my Hamers. I'm kind of ambivalent as to what they offer over any other PJ set TBH. They work well enough, no complaints, - but here's the caveat - I have a John East Uni-Pre 3 circuit on the bass, so it would - in all likelihood - make the sound I want it to irrespective of pickup choice.

Will be with you in spirit. I'm at the Albert Hall that day for Messiah!

The more I read through responses and reconsider the OP the more I feel a knot of anxiety in my chest. I've been playing 40+ years and not once - until I read the OP - have I ever considered resonance in my chest when I play the bass unplugged. Sure I pick up all my basses and have a quick strum/noodle without them being plugged in, in fact I did that less than five minutes ago. Construction materials are broadly traditional (mahogany, alder or maple bodies and maple or maple with rosewood boards for the neck), bolt on and set necks. Everything else is broadly the same, I don't have a BBoT bridge on anything. They all sound - unplugged - more or less the same, much the same goes if you plugged them into a desk and recorded them flat, you wouldn't be able to tell which one was which.