Burns-bass

I understand, but I used to own the bass you did and I found the Hidersine one to be fine! The biggest issue is lifting up stairs and the Hidersine one (to me) had the most logical handles. I also had a Roth & Juinus one which was nice but was too thick and heavy. Its was almost impossible to put on and weighed (what felt like) 8kg. Add that onto an aluminium DB and it’s a brute to carry. Whats easier with an aluminium bass is that it’s hardly likely to dent to much!

Weird as it seems, the Hidersine gigbag was the best one I found to use with the aluminium bass.

I have another spare from an unknown vintage bass if anyone needs one. I think it was a mid 70s bass but k have no idea. To qualify for this exclusive offer, you must show an empty hole on a vintage bass or one filled with straplocks (spit).

Value has just doubled…

It’s stretching credulity (and ethical business practices) to call this a 1962. It’s another example of “vintage mania” in action. Should be £1000. You’ve effectively got half a neck. Any magic that was imparted at the Fender factory has long been exorcised by a fool with a screwdriver.

Objectively he can play, this is a place for irrational dislikes. There's no logic to it. (I also hate Queen and can't listen to it and feel embarrassed playing it. But John Deacon is as cool as.) He's sold millions of records and inspired thousands of people to play. I'm sure he's a good egg, too.

One word: Flea I have literally no idea how the guy who can barely play and sounds awful on almost every record is venerated as a bass god. This isn't something I would share (as there's enough negativity in the universe) but this irrational hatred of a hugely successful musician emerged when I was a music teacher for 5 years.

Keep the receipt. They shouldn't really fail, especially after 5 years. If it happens again, they'll likely replace them for free.

It was a gentle comment on a forum, don’t worry, I’m not telling you what to do. In the wider world it’s all irrelevant really. A lot of people fetishise these basses and then realise that the thought was somewhat different to the reality. That’s all I was pointing out. I guess with 19 basses if this really was the life changing holy grail you could sell them all, free up some cash and become a lone bass gunslinger!

I can’t stand: People who talk about characters like Leo Fender as if they had any idea about the man or insight into his factory production methods. It does my head in. People who claim something is 100% original (apart from these 48 changes). People who advertise basses for bonkers money (either a little under the new price or at the same price a shop would charge) and continue to bump them ad nauseum. The majority of vintage bass descriptions. People who say the latest bass they have bought is life changing then sell it a few weeks later (I have done this, I am this person, and yes, I dislike myself for it). People who don’t clean basses before selling them. (I’ve probably done this) People who ask you to send things even though you say you won’t. (I have definitely done this) People who use a sanctimonious and patronising tone in their replies (this is 100% me).

I’ve owned one and I’ll be honest, once the thrill of owning something so old and cool passes you’ll likely get bored pretty quickly with it. Mine was a nice little curio that sat on the stand and looked pretty but that’s pretty much it. A lot of these vintage guitars are like fine art, I can appreciate its aesthetics and value but I have no need or desire to own it (anymore). I’m happier with the modern US stuff and I reckon you should be too.

100% original when half the parts have been changed!

Some people recommend olive oil for leather which is a bad idea. I guess it depends on the quality of the olive oil, but I was told it will deteriorate fairly quickly and potentially degrade the material. It certainly does for leather, for example.

This is a great book and a thoroughly excellent recommendation.

Agreed. There’s so much junk on the vintage market. This seems a genuinely really well cared for bass and the sort of thing a collector would want in their collection.

That’s the one I used too. Brilliant book.

Agreed! I think the mastery of rhythm is where you can tell the difference between a pro and an amateur. (I’m in the latter category - and I know it.)

They’re standard rhythm reading texts and hugely valuable I found. How about you? Reading music is really two things pushed together, reading from the stave and understanding the rhythm. I find the rhythm stuff harder so I put a lot more effort on that side.

The book I’ve linked to has a series of exercises that divide 4/4 time up. They increase in complexity. You can also get an odd time signature book too which is very good.

This is what you need https://www.worldofbooks.com/en-gb/products/modern-reading-text-in-4-4-book-louis-bellson-9780769233772?sku=GOR001912630&gad_source=1&gad_campaignid=17428061960&gbraid=0AAAAADZzAIDzWxs1GLWi1sPdAvYw2Zjy-&gclid=EAIaIQobChMIv4_jp9XvjgMV1ZtQBh2Phyc8EAQYAiABEgIUnfD_BwE

I agree. Big risk of travelling with a bass is theft. I travel with a Bronco bass. Once set up it’s a capable little thing and the whole outfit cost me less than £200, including headphone amp and good headphones.

I guess we’re seeing the modern bass player mutate into something as this super processed sound is really synth like. The phrasing all sounds like Stevie Wonders left hand - and that’s not a bad thing! Personally, I find it’s over produced, far too busy and the track is soulless-soul Muzak. (I think the same about Jacob Collier to be honest.) But that’s my personal taste. He seems like a lovely guy and I imagine would smash any gig.