Trueno

He's trying something untoward. Never underestimate how thick some untowarders can be. I once sold some expensive hi-fi gear via a magazine ad (pre internet). The guy turns up, we load the gear into his car. He hands me a bunch of twenties. I count them and they're way short. He hands me another bunch of twenties... still short. I'm a big guy, he's a little guy... I'm thinking of coming to "an accommodation" with him. He ends up emptying his pockets and the last few coppers come to the amount I asked for. I'm wondering whether I really want to sell my gear to the little creep, but I'm not sure if I can go through the pain again. He says "can you let me off £20 for the petrol I've used". My expression says... no.

It's the deep black pearl that does it for me. If you get it done post pics if you can.

Looks great... enjoy! Personally I'd put a Gotoh bridge on, but that's just because I hate bbot bridges. For scratchplates I'd look at Jack's instruments website just to get some ideas. He does a black pearloid plate which I quite fancy for my Squier SS Jag... but my bass is CAR. I think black on black would look good... maybe even a sparkly black one, if you like that kind of thing.

It's semi parametric... no Q control.

Personally, I'd rather have semi-parametric mids than overdrive... that's why I fancy this pedal.

I've been looking at these, also so I'd have a di if I ever decided to do a gig at short notice (although not likely). But I already have an EBS microbass II from my gigging days. I was thinking of selling the EBS and getting the MXR... mainly because the EBS is hugely over-specified for my needs. But I decided "what the hell"... so I under-use the EBS as a clean boost with a minimal amount of bass and treble tweaking and it sounds great. I'm still interested in views of the MXR, though.

This. Don't know why sellers don't organise their own courier, it's easy enough via ebay or via interparcel. The hard part is packing it all up.

I've played in an originals band, but mostly in covers bands. I think both are hugely enjoyable for different reasons. But... small audiences with the originals band and the last covers band I was in had a bit of a following... sometimes the places we played were packed to the rafters. As for the OP... I've left loads of bands. It's always been down to bandmates... ambition mismatch, heavy drinkers, flakes. I've been in a band full of talented "thoroughly decent chaps" who regarded the enterprise as no more than a social get together... and I've been in a band full of talented misanthropes with a heavy gigging schedule... and every point between the two extremes. I usually measure the "gain vs pain" as a percentage... once it's 51% pain vs 49% gain, I leave.

Jack's Instruments in Manchester also a good place for pickguards.

Now I'm wondering where I can get shoes in candy apple red...

Great bass. I got one in Candy Apple Red a few months ago. Got mine from a local dealer so I could check it out for any nasties. I agree with everything you say. I put a Gotoh bridge on mine, but that's more because I hate the look of bbot bridges. I put new strings on and did some setting up over a few days... but didn't need much tweaking... setting the height of the jazz pup was the biggest adjustment I had to make. I've also got a "fag burn" on the headstock... just in the right place... maybe there's a heavy smoker in the factory with a sense of humour. Enjoy the bass.

I usually point my jazz knobs at about 10 o'clock when on full... as you look down on them from above. My US Jazz was like that from new... so that's what I've tended to stick with.

30" scales and skinny necks do it for me. Thanks for giving me even more GAS problems!

Anyone listened to the full 9 min 52 secs of it? I managed 47 seconds... then dipped in a couple of times to see if it picked up the pace... sadly, it didn't.

Two scenarios. The first band I was in as a bass player was not very good, but I didn't mind as I was still getting my act together, basswise, and it seemed a good starting off point. They weren't good musicians, but the BL was great at getting gigs... we did all sorts of stuff (not always paid). I left after about six months... it was time to step up. The next band were really talented, but we'd rehearse for about ten minutes at a time then they'd stop for a fag break. Our first gig was a birthday party for one of their friends (it was big do, I must admit)... but then nothing. I left. It seems that talent is not proportional to ambition. I don't gig now, but I would never contemplate joining a band without a full set up and gigs already booked.