Dan Dare

Beyer DT770. Extended low frequency response and clear, warm sounding.

I agree re. the odd instance of dodgy conduct. That's when feedback can be of value (although my experience is similar to Grangur's). However, some were objecting to not being given positive feedback. Caveat emptor should be the watchword if you are concerned. Purchasing at distance without seeing an item or meeting the seller can be risky, although 99.99999% of people are decent and honest. That's why I always collect things of any value that I buy second hand. If I miss out on an original 51 P Bass for £30 that's being sold by someone in the Russian Fed', that's just my hard luck...

As an old git, to who all this feedback malarkey is a recent, eBay inspired thing, I'd say that it isn't one's right, having sold something, to expect or demand feedback, praise, or whatever. If you offer an item for sale and someone buys it and doesn't ask for their money back, that' the end of it. You have no right to a pat on the back. If you get one, it's a bonus. You have taken their money, after all. It isn't as if you gave them a present. The same applies if you buy from someone. You pay them for an item they own. It's a fair exchange. Praise and stroking isn't part of the deal.

Jeff Berlin has some trenchant comments on this topic. One of his questions is "Would you refuse to learn to read language? Then why music?" I've played with some who say things to the effect that reading and an understanding of harmony, etc will "restrict their creativity", etc. There's no need to go overboard, but a working knowledge is a very useful thing to have. As bubinga and stingray pete say, you can learn any piece/part without having to play/pause a recording or have someone else teach it to you note by note, with frequent repetition whilst you go over and over it - very few can hear something and play it straight off the bat (those that can tend to be able to read anyway - almost all at that level of competence will be only too aware of the value of musical literacy). That alone makes it worthwhile. You don't have to read everything, but it's valuable to be able to if the occasion demands it. I think the reason some "belittle knowledge, and those who have it, or strive to have it" as ambient puts it so well, is because they feel threatened.

Yes. They get the place cheap because it's next to a music venue, then try to get the venue closed so as to make a killing on the property price. Some a'hole tried this in the case of a well know North London traditional music venue I frequent. He didn't get far.

Another vote for Wunjos. I have only bought odds and sods there, but they're always friendly (although not overly so in that sales rep' way), let you play with stuff to your heart's content and answer questions intelligently.

What casapete said. If people are civil, sober and obviously not idiots, I say yes. However, I won't actually lend out instruments or equipment. Things can get messy/complicated if damage occurs.

Fender Musicmaster bass combo. Tiny, feeble/very low powered, open back, one volume and one tone control. Have seen a couple offered for silly money as "vintage" amps recently. Agree with those who defend Carlsboro. I used to borrow one in the 80s - can't remember the model - and it was fine. Not state of the art, but reliable and quite adequate for pub gigs. Did me whilst I saved for a Trace.

I think it's because the 'strong' hand has better timing/rhythm that we play the way we do. I know I can tap much better time with my right than my left and when I play percussion instruments, I always lead with my right. Just feels more natural.

Approximate

Back in the 1980s, I stripped my very battered (by the previous owner, not me) '72 Jazz. We were all doing it back then. Has defo reduced its value. So unless you plan to keep it for ever and/or money is of no consequence, best not to.

If he wants a BD monitor, he should provide. Don't destroy your kit for his sake.

I carry my Basswitch, which I can use direct into the PA if the backline fails.

Fusion Urban Bass. Can't fault mine.

I'm average, but not particularly happy - not about being average, but because I'm a miserable sod generally.

There are live bands and live bands.

Fender Jazz.

Ours was a musical family. Our dog used to hum in summer.

It's all down to budget. Small/portable plus powerful and high quality invariably = expensive. Have a look at Line 6 Stage Source active speakers. Portable, powerful and much better sounding than plastic box types. For more money, Nexo, Fohhn (what I use) or D&B Audiotechnik (if you're feeling flush).

A pal has just bought a Mesa Subway 800 and it's excellent. Dear in this country (£800+), which is a bit of a rip-off as it's $700 in the States. Goes down to 2 ohms, too, which makes it versatile. Uses same the Bang & Olufsen ICE class D power module as does the Aguilar TH500. I tried a TH500 this week and liked it a lot, but it only goes to 4 ohms and I use three 8 ohm cabs. If you can stretch to the Mesa (or get a pal to bring you one from the US), it would do the job very well.

Blimey. Thought my bitsa Precision - Squier body, no name neck, used Kent Armstrong pickup (£20) - would be in with a shout, but it cost over £100 to build. Back to the drawing board. Will start looking in skips.

I had a L2000 Tribute for about a year. Wonderfully versatile tonally, well built (a touch heavy but no bad thing in a bass) and people commented on how good it sounded. However, having played a J Bass for more than 30 years, I really couldn't get on with the neck. It was flat and wide and just didn't suit me. I really tried to get on with it - it was much more versatile than my Jazz and perfect as one instrument to cover all the basses (pun intended) and saved me taking more than one instrument out with me. Eventually, I gave up and got an active P Bass Special, which feels like my Jazz and covers what I need. I have to admit it doesn't have quite the tonal range of the G&L, but it's got enough. Sold the G&L. Shame. It was a great instrument, but just not for me.

You say "I've been 100% happy with things and I'm always been told 'your bass sounds great". I'd think very hard about whether a change is needed. Others' comments above are all sound sense. Sometimes, we can hear something different and forget how good what we already have is because we're so used to it. I'd defo do some A/B comparison with your existing kit before spending money.

This from the Orange Amp Forum may be of interest - [url="https://forum.orangeamps.com/viewtopic.php?f=2&t=46372."]https://forum.orange...hp?f=2&t=46372.[/url] If it's in good shape and really cheap - buy it. Good older Oranges are desirable. so you can always move it on if you don't like it.

Think you've answered your own question. If you love the sound it makes and can't find anything else you prefer, it's worth fixing, even if it costs quite a bit. Resale value isn't the only measure of worth. Utility value is more important, imho.