Burns-bass

Hi. Sorry, I’d missed this! You can see a couple of pictures here...

I wouldn’t know where to start with fixing it, to be honest.

See how Brexit goes I reckon.

Hi all, short story is a guy in my office snapped the endpin on my bass. It was laid on the floor and he walked by and did it. It was an accident.

It’s a Glasser unit and retails for about £60 (https://m.thomann.de/gb/glasser_carbon_bass_endpin.htm)

I could buy another unit entirely, but I thought I’d see if anyone here had a 10mm carbon (or any material) endpin for sale?

Oh and before anyone says, the guy has done a lot of favours for me over the years and while this is annoying, I’m not going to get upset or demand he fix it because it was a genuine accident and partially my fault for leaving it on the floor in a communal space.

Just tried a Squier vintage fretless and want one - then this turns up! Sent a PM.

1 hour ago, 2pods said:

......and I both bought and sold one all them years ago (late 70's - early 80's) in better nick than this for £50      

Had you spent that money on Apple shares you’d be a basquilllioanaire...

Apologies for the detour OP - lovely bass and good luck with the sale.

Where are you based?

1 hour ago, Woodinblack said:

I do ebay often. I try and do the £1 fee thing where I can but if not, you can get easily more than 10% extra there than here if it is just something general, plus it is a bigger market, so it works out ok.

There was one last weekend (and they seem to appear regularly). I don't know whether they're blanket offers, or ones for selected sellers, but I sold an NS design bass and paid just £1, which I was well happy with.

People seemingly buy and sell gear as a hobby. The item itself is less important than the thrill of purchase and the excitement of expectation.

Perhaps were realising that having more and more gear is a distraction, and that we should spend more time playing and lesss time browsing? I know I should!

I’d also echo the thoughts here that some of the gear is priced very highly. I always assume a typical retail markup is about 30% and take this off to give me a guide for private sales. It’s a crude metric, but it helps. When I see vintage Fenders on here priced the same as you’d pay in a London shop I’m always surprised. I personally know that a dealer like Andy Baxter spends a huge amount of time - and a reasonable amount of money too - documenting the history of his basses, and of course buying through a shop gives you significant amounts of consumer protection.

Looks nice. I bought a 70s fretless jazz from Dave once - wonderful bass. I still have the flight case in the loft (and have tried selling it, but novody wants something so heavy!).

7 hours ago, KevB said:

I think Danny Thompson (on John Martyn albums) is also on some Richard Thompson stuff so may be worth checking that out too.

Love Richard Thompson. My dad introduced me to his music years ago but never thought of playing along... stupid me!

Good recommendations everyone, really appreciate it.

Good recommendation. I enjoyed that

Ahh I should have said, Tom Waits is on the list! That album (and Closing Time) are absolute solid classics and I love playing them. 

Hi all... I’m appealing to the collective knowledge. 

I play upright at home and while my wife (and kids) don’t like walking bass to Standards too much, they love it when I play a bit of Norah Jones, Gregory Porter, John Martyn etc. 

Just wondering what examples of tasteful upright playing there are out there that I could add to my practice regime that won’t upset the wife and kids. 

All trades now considered.

Here’s my NS Design Wav 4 bass up for sale. I’m a double bass player and purchased this to practice on at home, but I haven’t used it. I’ve just had a tax bill in for work that was more than I expected, so it’s up for sale. I actually bought it here...!

It’s in great condition aside from a mark on the peg box (pictured).

It’s recently been strung with brand new, purpose built D’Addario strings so it sings beautifully.

It really does make a passable copy of an upright, but it’s far more portable.

I’m based in Bristol and you can collect it. I can’t post this, but could meet up somewhere.

If you do have something to trade (bass or guitar) let me know.

12 minutes ago, oldslapper said:

Love the fact that you're disagreeing with yourself on the thread 😊

IBTL (before this escalates between yourself.)😄

You're right though, it took these guys a while before they were brands in their own right. 

Someone else would have said it at some stage,  I guess. My point was that these guys become first-call for a reason - they've established a formidable reputation. It would be impossible to brand themselves without this, which makes the whole task difficult for the OP.

As I said, I'm just offering what I hope is constructive and helpful feedback to help the project, not to be a smart derrière or know it all (because I certainly don't).

16 minutes ago, Burns-bass said:

A session bassist themselves isn't a brand.

This isn't technically true. Some session bassists are brands (Will Lee, Pino Palladino etc.) but they develop their brand through years of playing and exposure, not because they simply tell people they're great. 

This is really interesting. I hope you don't mind me making some points... (This comes from spending time as a music lecturer when we would set assignments like this). 

I think you're confusing your own career aspirations with the demands of the assignment. A session bassist themselves isn't a brand, but a company that provides session bassists - or deps - could be a brand. 

'Deps on demand' or something like that could be a good model.

You could test the market on how much people would be willing to pay for a stand in. Say a gig pays a band £1000 but the bass player has gone. What do you do?

This situation you could jump in and provide a service that ensures the gig goes on, keeps the client happy and the band earning. 

Looking at your survey, you're already collecting useful information. 

Apologies if this is seen as critical, it's certainly not meant to be.

Are you a covers band that plays for a good time or one that prides itself on authenticity?

if the guitarist demands you play the parts as written, that’s fair enough. Worked for Steeley Dan. 

If he’s asking you to play his interpretation then that’s obviousoy different.

They’re great multimedia devices but woeful phones for calls. I bought a Huawei which I use for work - it’s much better!

Sorry this sold last week - new baby has stopped me updating it.

Crap gear was crap in the 60s. Great gear was great. 

The vintage guitar market is a massively inflated bubble driven by greed, ignorance and an exaggeration of the relative scarcity of certain items.

Older doesn’t mean better, but some old guitars are wonderful.

Martin Penning.

1 hour ago, BigRedX said:

I disagree with that completely.

When I got my first really good bass (an Overwater Original) my playing improved pretty much overnight. Since the instrument was no longer putting any limitations on what I could do, it was all down to me.

Or you played it more... 

1 hour ago, AndyTravis said:

I’m not incensed...

I was just sharing my two penneth, which ultimately shouldn’t and most likely won’t influence anyone’s wallet nor decision making 😉

Cables - Again, they do make a difference. Spent an afternoon (well, an hour or so on a quiet weekday) with 4 different cables at £5/£20/£40 and £100 ish.

I agree that down the dog and duck this all really doesn’t matter. 

 

Agreed. Instrument cables are different to the typical audio cables people spend a fortune on.

Being brutally honest, if you're not much of a player it doesn't matter how much you spend on a guitar, cables or amp...

Oh, and the Precision was the first mass market bass that captured the attention of players and the public. They're pretty agricultural when you play an older one, but they do the job. When I interviewed Carol Kaye and a few other studio players they had no real reverence for older instruments. She also hated jazz basses too. Strange woman.