Burns-bass

And this is what I don’t have the vintage bass fever anymore.

Excellent advice, thanks. I used to be a teacher so I’m trying to both remember my advice and follow it myself.

I wouldn’t buy anything of that value without absolute certainty of its originality, so I completely agree! In the end, I could never justify this for an instrument like this. But it doesn’t stop me looking.

I had the same experience. They’re a successful shop that knows what they’re doing. Be good if they were all as forensic as Andy Baxter I guess but they have a much larger stock and faster turnaround

I think he’s just excited about getting new bass. Ive owned one of these and I really liked it. I know Simon who does the setups and I’ve played a few at his place. Really like then.

Dunno. Maybe they’re an old school shop that actually wants you to go in. If I was nearby I would, but I’d probably be destitute.

Yeah that’s is how it was done at this point. The stick method came later. In the Fender book you can see how the bodies were held in place like that as they moved through. At this price I’d expect it to be black lit and come with a large amount of provenance. I don’t know the Gallery if I’m honest but you don’t stay in business that long unless you do things properly.

Ask @Hellzero Guess we're in the transitional period between stackers and the 3 knob versions.

See if the'll let you take some pictures. On any objective measure, £18k for a mass produced instrument is bonkers. But if I had the cash to spare (lottery win, tour with Pink Floyd etc.) I probably would.

Everyone can see how miserable I am, but even I can't fail to be impressed by this. https://reverb.com/uk/item/86596651-fender-jazz-bass-1960-1961-sunburst

I agree, the virtuoso stuff is cool m, up to a point, but it starts to grate in the end. Possibly because once he’d nailed his tone and tricks he never really moved on musically. If never stick on a Jaco record in a million years, but I’d listen to a Joni Mitchell one (and do!).

Agreed. Sanding it won’t break it and it’s a stopgap. If you paid for it to be refinished it wouldn’t be all original so anyone holding out for that would be put off anyway. With all respect, 1992 Stingrays aren’t commanding a huge premium, so I say crack on. I had a funny conversation when I got the jack socket changed on a 1966 fender. The tech joked that the swap probably knocked £500 off the value as it was no longer 100% original.

It’s very hard to get a good sound and I’m working hard to improve my technique. My tendency is to do too much and so I’m doing 2 x 20 minute practices a day which is helping me to reduce (but not remove) potential frustration.

I see this as a response to your post in the FS section and I agree. One would assume someone would have undergone some form of structured training or apprenticeship, but people can call themselves whatever they want. In my sector (copywriting, content and journalism) people can call themselves whatever they want - and they very often do.

This seems like a wonderful idea. Love it.

And most of them seem like thoroughly nice people. That’s the one I’d fail at as I’m horrid.

At this level it’s not technical ability as that’s a given. I guess it’s tone, sophistication and note choice. I admit I used to be envious and disparaging of people who could play better than me. Now, I just sit back and appreciate it.

Im talking about music that grabs you emotionally and viscerally, not that which you need a text book to intuit. It was directly in response to your point that suggested that the reason the person didn’t like funk or jazz was because they couldn’t understand it. While I’m sure it wasn’t meant this way, it smacks of intellectual superiority which is (for me) the antithesis of what the arts should be about.

Then you get into the intellectual appreciation of music being somehow more valid that an emotional connection to it. I understand how jazz and funk work and neither of them is hugely exciting to me anymore, in the main because I understand it. Once you’ve cracked the code (so to speak) a lot of what’s done isn’t as impressive as it once seemed.

I love the 16 year gap and I completely agree with your analysis. Stuff like Vulfpeck typifies this. It’s as bland and derivative as can be.

This is where I’ll be at 10am tomorrow morning.

Just popped you through a message.