NancyJohnson

14 minutes ago, SumOne said:

 

You're not wrong....didn't have to say it like it is though! I mean, life is futile, and Basschat more so, passes the time though! 

Sometimes you just have to take a direct route and be the voice of reason; the thread has been viewed 350 times, I'm sure there's many who probably went, 'Really?' when they read it.

Perhaps it's just the way I'm wired, but there's little point in skirting around things, always be as direct as possible.

I honestly don't get these type of what's-your-favourite-colour? type threads.  OP has used a pick previously, but is asking for plectrum recommendations and how to use them.  What follows will inevitably be dozens on well-intended posts suggesting plectrums of various makes/thicknesses etc.

Come on!  The OP purports to have been born in 1972.  They're 52-ish.  It's like riding a bike or tying your shoelaces.  If you've used one previously, you know what you've used, whether you were happy with it and you simply don't forget.

Please.

It wasn't huge by any stretch; dedicated Gibson/Fender/Rickenbacker, plus the usual areas.

There were a few regulars; the guy that came up with the Badbird bridge for old Thunderbirds, a German guy that had a phenomenal amount of Gibson basses 

There's probably a handful of members here dip into The Last Bass Outpost once in a while.  Seems like the site is in trouble or it's the end.  Database errors for the last few days.

Anyone know what's happening?

51 minutes ago, ezbass said:

Bit of zombie thread time 🧟‍♂️

 

I've enjoyed owning the NS WAV, but don't play it as much as I should, mainly down to it not having any place in the band I'm in (Mod, Ska, Northern Soul, etc), where I almost exclusively play my JMJ Mustang. All this means that I've had thoughts of selling the EUB, so that it at least gets played by someone. However, today, I started playing around with an old, live recorded, track I did years ago on fretless (Tori Amos' Cornflake Girl). I dropped it into GarageBand, remixed it a bit and played along, first with my Rob Allen MB2 and then with the WAV. Tonally, the basses weren't a million miles apart (those MB2s are amazing for that almost DB tone), but I had way more fun playing the WAV, almost dancing whilst recording. So it looks like the EUB might be hanging around a bit longer, I just need to play it more.

 

That is all.

I'll admit that lack of appropriate band drew me along the same lines; it gets about a half hour use a week I reckon - I'll just fire it up when dinner is on the make or when someone says, 'Ooh, what the hell is that?'

Interestingly(?), for the last three hours or so, we've been listening to a combination of the deluxe version and the 30th Anniversary editions of Definitely, Maybe.  All in all, about 70 tracks.  This is the first listen in 20/25 years, but obviously some of the material is burnt into my psyche.

It's odd, there's posts just about everywhere effectively deriding the band as talentless oiks with a whining vocalist; that's as maybe, but honestly the album (and bonus stuff) is pretty rocking...ok sure, inevitably there's tracks that don't work for me, but it's much better than I remember it at the time.  There's so many hooks going on.

Dependent on the number of holes in the body, John East kit is by far the most flexible.  

The headstock is so much better than the my-dog-chewed-it-to-bits one.

6 minutes ago, prowla said:

I just plain don't like added handling fees, and so-on.

I know businesses are in business to make £££, but the handling fee element is bonkers.  Handling fees, facilities fees, booking fees etc.

When all this was fields, I remember my dad driving me up to Hammersmith Odeon to get Rush tickets for their first tour here.  From memory, centre stalls, ten rows back, £3.50 or something.  You just paid the face value to the lady behind the window.

Didn't it used to be that when a band planned a tour, they set the ticket price based on venue hire/size, transport, crew wages, hire etc.?  Now there's just a whole other element where jackals like Ticketmaster/etc are just creaming off even more from ticket buyers; for what?  There's very little human interaction involved.

The sad thing is that buyers just suck it up and you know it's going to get worse.  It's not exclusively Oasis, every band (even my band were subject to this on advance sales).

Just now, tegs07 said:

 

I used to enjoy discovering new music and seeing loads of bands I had never heard, trawling music shops for some obscure vinyl. It was time consuming but very engaging and an incredibly social experience.

 

I used to have a bit of a reputation in my immediate group of mates as being the go-to guy for, 'Have you heard anything new recently?'

Like millions of other people I'd trawl Napster/Easynews trying to find stuff.  Gigs, little record shops, obscure snippets in Alternative Press etc.  You might find an album on Dischord with two decent tracks on it, but the hunt was half the fun.  Even now, I favour US indie station W-EQX as my preferred listening; as recently as two days ago heard two great bands (Wishy and Bella's Bartock).

Just reading some of the comments here about dynamic ticket prices and people having hotel bookings cancelled (only for the same bookings to reappear at three times the original price), is pretty abhorrent.

While I love tech and the general ease of purchasing pretty much anything online now, I do pine for the old days where you could just rock up to the Odeon or Rainbow and choose your seat the day the tickets went on sale.  Worst case, buy from a tout for a few quid more on the night.  It just all seems so quaint.  Christ, I lost count if the gigs I attended where we got front two rows because we made some effort.

I just don't get how Ticketmaster seems to have the monopoly on tickets and even then their online service in unable to cope, even at three times the price.  Bands like Pearl Jam went up against them and now they're cozy bedfellows.  Much as people abhor Amazon, they seem to have their 💩 together, so maybe they should get into the ticket racket.

After a couple more abortive attempts, you'll be pleased to know that I've passed everything over to Julian Mullen in Reading.  I've given up on installing the bloody thing.

2 hours ago, meterman said:

After the court case, Mike Joyce probably wouldn't share a stage with Morrissey, neither would Johnny Marr, and Andy Rourke is sadly no longer with us. 
 

Which begs the question, how would Morrissey tour as The Smiths?

Said mate from earlier gets his live Smiths fix via The Smyths.  If Morrissey came a knocking for a backing band, what would y'do?

1 hour ago, tegs07 said:

Personally I don’t understand why fans want to see bands that were really important and relevant in their time reforming and creating some pale middle aged interpretation of their youth.

 

As musicians and music fans, we just want to cling onto and experience something akin to how we felt back then, be this watching Japan at Dingwalls in 1978/79 or The Heartbreakers at the Roxy.

Love or hate Oasis, you know that if they can keep it together it's going to be off the scale and good luck to them.  I'm not a big fan per se (admittedly they do have a decent back catalogue), but I'm quite interested in how it's going to pan out. 

I'd rather this reunion than the unending stuff like Kiss, Motley Crue etc.  These bands are well past their sell by date.

1 hour ago, Beedster said:

 

Normally I'd agree (see Gallagher versus Gallagher), but I suspect that Mozza has burned the last remaining bridge; he's been quite unpleasant even in public, I dread to think what he's like to work with over an extended period. I take my hat off to Marr for turning down what could/would no doubt be a massive payday and remaining true to playing music that he likes to play with people he likes to play with. He's also I suspect pragmatic enough to know that the tour would be unlikely to make it past a few weeks....

 

There's a sense reading around this stuff that people feel that Mozza has reached out with an olive branch and Marr, having not responded, is the bad guy. I suspect the truth is that Mozza - as do Liam and Noel - sees a massive payday plus a potential renaissance of his media status and possibly a chance to restore his very damaged reputation, while Marr simply sees no reason other than money to be involved. Part of me hopes Marr ends up on the Oasis tour just to really piss Mozza off  

I don't follow Morrissey in any respect so I haven't got clue what's been said historically. Certainly from my mate, old Stephen is a bit acerbic, but by and large,  if there's a photo of him and narrative I generally scroll past it...beyond the legal/royalty case everything related to The Smiths is somewhat of a grey area for me.

Even from what I do know, I'd concur working with him would be difficult at best.

A bit of a curio...perhaps something a builder could utilise.  The Charlie Hunter instrument is stunning.

https://www.gumtree.com/p/for-sale/original-novax-8-string-neck-un-used-un-fretted-3-bass-and-5-guitar-charlie-hunter/1210287594?&utm_source=Chrome&utm_campaign=socialbuttons&utm_content=app_android&utm_medium=Social

Never a Smiths/Morrissey fan, so much so that if I was on Pointless I'd only be able to name one song (Panic) from the entire output.

I've got a mate though, big fan; literally lives and breathes them.  When people say they know every word of every song, this is the guy.  (Believe me, we tested it over dinner one night.). He knows of Morrissey's alleged political alignment(s) but the overriding thing is the music, that trumps everything and is more disappointed that they just don't lick their wounds and do it for their fanbase.

While there may be bad blood between them, because someone is the polar opposite of your political ideology doesn't necessarily make them a bad person, does it?

Inevitably it's happening and honestly, good luck to them.

The thing is, knowing when to stop.  Keep it civil, do the tour, put out a live album/DVD and quit again before it gets too old.  Closure.

28 minutes ago, Happy Jack said:

The usual lack of any helpful information about the bass. I'd only consider buying it if I could spend 15 mins with it first.

The seller has had some really nice stuff previously, some very tasty Hamers, vintage Yamaha and Ibanez.

I stripped an Ibanez Roadster a few years back, no idea what the wood is... used black Fiebings leather dye.

Didn't have any real issues with the application; I did a couple of coats, applied with a clean rag, and lightly sanded between these as the fluid lifted the grain.  Like you, it was the finishing over that that was the issue; there was a bit of rubbing back.  There were a couple of patches where it seemed to be a real struggle to get the dye to take on the body, so rub back, reapply.

Eventually I just clear coated it several times without knocking it back between coats.  I let it dry for a few days, spray again.  After several coats, orange peel was minimal, sanded back and applied a final coat.  Used some Crimson compound to try and bring out a shine (suspect T-cut might have been cheaper!!).

I'm not going to post links, just search on Gumtree.  Hounslow.

Sun is out, I'm prepping for dinner tonight.  I have a 30-track Mariachi collection on shuffle.

Planets aligning etc.  Beautiful.

Me and the wife.

It was my late mother who took me up to Denmark Street for the first time, one of the infrequent trips up to her old stomping grounds with me in tow; she obviously felt it was important for me to experience this place as well as as much as possible within the Oxford St, Charing Cross Road, Shaftesbury Ave, Park Lane and Piccadilly pentangle.

I reckon I was 13 tops and going into one of the guitar shops (along with Desolation Boulevard) was probably the reason I wanted to play.

I'm listening to a soundboard recording of David Sylvian at Hammersmith Odeon, 1988.

A friend of a friend worked on the tour and knowing I was a bit of a Japan fan, procured this for me years ago.  I've never listened to it until today. 

Pretty spectacular, I've heard worse live albums.