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  1. Has anyone had any experience with these? I'm a longtime user of MIM and MIA Precisions but recently an 89 MIJ Precision has come up in my circles and I'm pondering selling something to get it because I've heard the built quality is second to none (other than perhaps MIA's, of course...) and I've had Jap basses before of different makes where this has certainly been the case. Of course it was all licensed and to spec anyway, but is there anything especially different about these? Thanks
  2. Hi, Can anyone shed any light or information on this Intermusic B120 amp? I've no real idea what it is, other than British-built, probably late 70's/early 80's, possibly by HH. There's absolutely f*** all information about it anywhere. Any theories appreciated. Cheers, H.
  3. Very interesting as always to read everyone's different opinions on live sound... Ultimately (and as a regular gig-goer, player, and someone who has toured at several levels through several continents in several capacities....) I personally conclude that trying to get a great sound at any live gig is kind of like trying to polish a turd a lot of the time; unless you're in an acoustically wonderful and probably designed-for-purpose venue, you're at a place that can never sound like your record player speakers, so don't expect it to.. Some of the best sound I've heard at gigs has been at small pub venues with just a basic PA with a not-overly-experienced sound person simply mic'ing vox and PA, perhaps with kick as well, and just balances the backline. In fact, my favourite venue for sound has this setup. It takes a bit of common sense and equally co-operation from the band; in this case, the sound person is balancing the backline before dealing with their own mix, so it's up to the amp users in the house not to flip the gig up for everyone by turning up during the gig or being a pink torpedo during soundcheck. And equally, some of the worst sound I've ever heard has been at major venues and festivals; as others have mentioned the typically poor sound found at outdoor festivals, and I concur; I've been at huge metal festivals watching name bands and for example, cannot hear any bass whatsoever, to the point in which I'm certain that the bass-player must be muted, but the gig goes on that way, and nobody seems to bat an eyelid... so, I guess it must be on... FOH guys have one of the hardest jobs around I personally think, and there are, like musicians, countless incompetent and arrogant ones, but trust me, it takes a flipping lot of effort to get it right. As I say, unless the venue is a God-send, 90% of the time the FOH has their work cut out for them, and is battling acoustics, time constraints, technical issues and egos... so, when they do get it right, they deserve a f*cking medal really... And crucially, with exception to what people can now do on their iPads, FOH guys are working from a single spot usually two thirds at the back, and have to factor in a compromise for everyone in the venue, so if you're stood at the very front, or very back, or to the left, or the right, or the middle, you'll hear differently in all of these positions - FOH guys aren't actual magicians, guys. Really, like everything in live music, you get what you get. You get which sound engineer the venue has, until you can afford your own. If you're that worried, hire your own. But even then, you can't expect them to pull the rabbit out of the hat at every gig... I think every tour I've been on there have been both rave reviews and terrible criticisms of the live sound within the same run of dates with the same FOH engineer, often even from the same gig... I think that says a lot. Respect your local engineer, they've got a harder job than you.... and when you come across the grumpy c*nty ones (of which there are a few...), their c*ntiness is usually an expression of their own incompetency, so bark back and tell them what to do.... IF you know better
  4. Two months is ridiculous. Obviously it's what they quote you, but who wants to leave their beloved for that long? If someone can't do within that time frame, unless they're an ABSOLUTE specialist, they shouldn't be taking on the work. Unless you're more patient than I am.... but as a jobbing musician, if I'm paying top dollar for a job, I want it back within 10 days really, and usually don't have a problem with this. I've had people say they're not taking on any work at the moment, and in such a circumstance, perhaps a couple of months would be acceptable, but it'd have to be exceptional circumstances.
  5. I keep encountering 'classic' albums. As a millennial mostly interested in the music of the 70's the guidelines for a so-called 'classic album' are a bit loose, what defines it? How well it sold, or how culturally significant it was?
  6. I didn't buy it haha, neck was warped up and of course you can't test one out in a charity shop, cheers though, just in case it was a gem...
  7. Hey guys, Can anybody help me identify this short-scale bass? I found it today at a second hand shop whilst buying something, and it was behind the counter where somebody had reserved it until the end of the day, but it was nearly closing time and they'd not returned It was an 'EROS'; I'd never heard of it, but a quick Google revealed multiple suggestions that this was something out of the Matsumoku factory in the 70's? This one says 'Made in Korea' on the back and I wonder if this is perhaps an 80's bass, but I'm guessing Eros was simply a distribution name for this bass and that there may be others out there under a different title. I'd love any information on it, especially as I love Matsumoku and have a '72 lawsuit 4001 that I think the world of it, so I said I'd go back in the morning. It was listed as £80 and if it's worth it, I'll get it. Cheers! Harry
  8. Blimey! Seems like collection only is the far easier, cheaper and secure method. We're talking a couple of hundred quid as opposed to a couple of thousand so willing to not get quite what I'm hoping for to save the hassle haha. Cheers all.
  9. JJ Burnel is a perfect example. On that note, I should have mentioned tone as well. Smashing tone!
  10. Aside from basic proficiency, such as being able to play [relatively] in time, and in tune, I believe the most important factor in being a 'good bassist' is STYLE. Style seems to have been replaced by the race for technical prowess. Equally, I appreciate the viewpoint of 'discipline' and 'it's the notes you don't play' etc etc, how to accompany your songwriter and whatnot, but I've always favoured bass players who branch off from the minimal and into something tasteful, artistic and their own. Having style means you've got something different to the next guy.
  11. Hi guys, I've never sold a bass, because I like my basses, even if I don't like them, but my old Takamine G Series acoustic has got to go really, I just don't see eye to eye with it and it takes up space. So I'm going to eventually sell it and was wondering how the hell you'd package one of these for shipping. I know to use a courier, and it already has a card case, but would you put this hard case in anything, or just courier it 'as is'. I'm more referring to externally, outside of the case, than internally, which I can easily pad out with various textiles and padding. Cheers, H.
  12. Hi guys, I'm off to do some fly-out shows soon and will be taking my pedals (only a couple - I don't use a pedalboard) and cables. Usually I just wrap them up in some clothing and put them in a bag, but I was wondering if anyone could recommend me a little case for this purpose? I've seen little soft case pedalboards around and think I could do with one to slap in my suitcase with my carryables, what would people recommend? Doesn't need to be big. Cheers
  13. Didn't you see? Indeed, it was that unorthodoxy that inspired me, funnily enough I think the same reason a lot of kids get into punk and stuff, 'Hang on a minute, I can do that too!'. Stay Clean was one of many good examples, listen to his interplay with the band as a bass player in his Hawkwind days, he was kind of more of a bass player then than the rhythm guitarist he became in his own Motorhead, but there's a lot of intelligent stuff there, especially as far as songwriting goes. The persona and iconography of Lemmy is cool and stuff, but I've always been blown away by his sense of melody and strength of songwriting, which I think some may laugh at, but he took the bass so far away from what everyone else was doing, awesome! Takes balls to stand up and do that.
  14. Him being my favourite bass player, I politely disagree. I'm not expecting anybody on a bass players forum to agree with me though
  15. Looked the part but, at least in my opinion, just a bit of a prat really. As someone else has mentioned, Lemmy tried to teach him bass for a couple of days but it was 'flipping hopeless'. On the album, Steve Jones did most the bass work with I think Steve and predecessor Glen doing a track each separately.
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