NancyJohnson

Don't you remember that a six-string version featured in that horrific cough, custom, cough Bongo?

If you look at the scope of 'metal', it really is a case of anything goes though. You could argue the genre is littered with Fenders (Precision, Jazz and to a degree Jaguars), Thunderbirds, Spectors, anything in general anything ridiculously pointy or covered in a bloody-looking paint job; there are almost zero sunburst finishes on anything. Oddly on the circuit I play within, you hardly see any Thunderbirds or Rickenbackers, which I would have expected to see.

It's 2023, haven't we really gone beyond the, 'What's good for <insert genre here>?' Anything goes for any genre. It should be pretty easy in this day and age to dial in any tone, irrespective of the shape of the instrument delivering it.

Fender: "Coming in 2025! The Vintera III series! Because you suckers will happily buy the same kit again and again if we give them a new name!"

£99.00. Anyone here snag it?

The original basses all had these - they carried a Hamer logo impressed into the string block.

I've owned a handful of 5-string basses (Lakland DJ5/MM Bongo) and have an oversized Lull NRT. I don't play the Lull that much despite it being a fantastic bit of kit; it just doesn't lend itself to the whole punky/indie ethic, although the extra notes off the low-B do help when there's a necessity to drop down to a low-D once in a while (rather than using a drop-D tuner). In a world of Precisions and Jazzes, I think I'm pushing things using a Spector Euro-X in the current band, but the Lull might be stepping over the line a bit. Wouldn't classify 5-strings as being pointless. They're useful in the right circumstances.

Ridiculously cheap Hamer (Slammer Series) Cruisebass on eBay. £85 or best offer! This is one of the very decent Korean ones. Samick factory. I think the only off-putting thing is the headstock logo (replacement decals are available, I suppose). If nothing, this would be a superb instrument to go the upgrade route. https://www.ebay.co.uk/itm/314707091928?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=BFY3yHiJTKm&sssrc=4429486&ssuid=&var=&widget_ver=artemis&media=COPY

I'm very much in the reinterpretation ballpark; our set leans heavily (70%) on material that our vocalist had some success with from the 1980s through to now. Some of the bass work leaves a lot to be desired; it's either too rooty, unnecessarily busy or inconsistent. I just don't want to be measured against these or end up playing other people's lines, so from the outset it was pretty much a case of saying I'm going to play what I want.

Never fail to be amazed at RD Artist basses. Of the hundreds of bands I've seen, not one bass player using one, never played one or seen one in the flesh. Don't recall any positive reviews in Beat Instrumental (or other sources at the time), but obviously Krist Novoselic used one and interest went up (along with used prices). The reissue was pretty nasty, read a few comments about poor QC.

Like many, I watched the Glastonbury performance with a degree of horror. Trainwreck stuff. Bass out of tune for a lot of it, they were under-rehearsed and it was a struggle. You'd think standing in front of 16 10" speakers he'd have heard things had gone awry. TJ's choice of bass did surprise me, especially as he's been using a Rickenbacker elsewhere (uncertain whether it's his original Generation X one); I too would love it if it was a Gear 4 Music one, the similarities are evident.

Marina & The Diamonds. Again.

Cough. PVC2. Cough. The Rich Kids (as Matlock/New/Egan) were already formed and courting several guitarists well before Midge Ure came on board; Mick Jones of The Clash was in the early lineup. Matlock actively pursued Ure and was rebuffed several times.

I use a Gator bag for my Darkglass head and associated cables. Just bought a Ritter Bern gigbag for the Thunderbirds and I have a Fender bag for the Fenderesque shaped stuff.

We had a lightweight backdrop (2mx4m) with reinforced loopholes in each corner; we just had a couple of feet of parachord looped into these and we just tied/hung the backdrop with these. There was ALWAYS somewhere at the back of the stage to tie it to.

Bag delivered. Lovely bit of kit...head and shoulders over the Roksak. Nicely padded, fairly robust. If you're purchasing, there are downsides; limited zippable storage, enough for a lead, strap, headstock tuner and little else. (If I needed to pack a stomp of some sort, I think I'd probably wrap it in a teatowel and then in a foodbag and put it loose inside the bag itself.) Just on the subject of size/geometry the internal length is 47"/120cm from the bridge strap button to headstock end. The Spector is snug. Measure your bass before purchasing.

Life got in the way.

There's this allusion that old basses (or moreover old Fender basses) are the monkey's b*ll*cks, but from personal experience I find them ponky tonally and in the case of the 70s ones, heavy too. It's no surprise a new instrument will play/sound better*. *Subjective.

Was giving some thought to this one, but found out the VIP tickets were right at the back of the gig-area. If you're paying a premium price, then surely doesn't this mean you're in a half circle up the front? It's not all about proper bogs.

I just think the stand is really flimsy and the footprint is too big. I have a little powered monitor stand that's waaaay more robust/sturdy. I (still) need to work out a way to join these two together.

I don't like the stand on mine at all. (see thread elsewhere)

Something distinctly 10cc there (Crime of The Century).

I just wanted to throw this out there rather than burying it in the 'What are you listening to...' thread. Now then. My wife picked me up from the station last week and for some reason was playing Supertramp in the car. I'm familiar with the main singles (Dreamer, Give A Little Bit, Logical Song, Take the Long Way Home, Breakfast In America), but to be honest I've never done a deep dive on them. Oh. My. I'm genuinely shocked at how good this is. The weirdness is what I can hear in there that isn't too far removed from what came after. The Bee Gees-esque harmonies, how much of a debt Built To Spill owe them. Elements of Public Service Broadcasting. I'm only going forward from Crisis, What Crisis? It's all subtly brilliant. Enjoying these immensely.