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I should have expressed more clearly in original post that I meant to reserve/pay for a seat. I would have hoped then it would be you know, guaranteed. Perhaps not. I'll give them a call.

But the idea would be you're already paying for the seat? Why is there zero chance? I've done it with a hard case before, and know plenty of others who have?

Hi guys, I'll be flying around for a few festivals this Summer and rather than the usual x1 bass in the Hiscox in the hold, was thinking about trying carry-on (Paying for an extra seat, that is), for peace of mind as it probably doesn't work out much more expensive. Which then made me think sturdy soft case. Which then made me think a sturdy x2 Bass soft case! In fact, I worked for a US act a few years back and the bass player travelled over with exactly this setup, and I thought it was a great idea. Unfortunately, I can't remember what bag he had! There's a couple of things out there, namely this Gator case (https://www.thomann.de/gb/gator_g_pg_bass_guitar_double_bag.htm?glp=1), but I'm wondering if anybody has any comments on them or recommendations for something similar. The sturdier the better, of course. Cheers H

Hi. I've got a whole bunch of basses and have been playing for 13-odd years now, and I'm frustrated about how little I reliably know about everything technical beyond the basics of my instruments - I can do a very basic setup and external maintenance, but have little confidence with everything else. I usually ended up posting questions on here or other sites if I can't find clear explanation elsewhere, but now I want to dive in and just build a f*cking bass myself to really start the understand it somewhat better. I can't see the point in paying for a build kit when there's so many cheapo P-basses always popping up, so I'm just gonna acquire a broken or cheap P and then harvest the remaining required parts from elsewhere and crack on. I'm gonna Frankenstein it and not consider it a working bass, so am gonna have fun with it and not too precious. Anyway, I've seen a lot of the build diaries on the 'Tube and here, but can anyone recommend a build guide for me? A book, video, or anything, that goes through it in an at-least-vaguely-understandable way? Danke

Great band

Please excuse me on that front - I hadn't really considered solo operations and was talking about a general band perspective.

(+ I don't think it deters anyone from coming really. Even US bands on a shoestring can regularly tour the EU and here)

Yes, but it is not a lot - as I recall, around £150 for a whole band. Something, but virtually nothing when compared to the UK musicians going to the US, where visas costs of course run into the thousands.

I don't like funk, have never been able to slap and think Jaco is boring.

Yeah I'm just gonna try changing strings and have a play about with that. I've used Rotosounds without question for years, and I change them every 2 gigs - I used to use 40/100s* when I did more stuff in standard, and I have a bunch left over, so I might try a set of those on them, if that's not too drastic without a big setup *edited from accidental typing of 40/110's

The wiring loom sounds interesting, in all honesty I haven't seen these about so will look into it, cheers I use Rotosound RB50/110s roundwounds and I'll have a look at the Fender Custom 62, I've seen the name for that come up a few times

Hi all, I've been using my trusty old 2010 MIM Precision lately, in B standard. I've used it for all kinds of purposes over the years, it's a pretty versatile workhorse and I like it, but as I got it when I was younger (one of few things I've ever bought new) and since then it's usually been a spare bass, I never bothered upgrading it in any way. I've been looking at other P's, as you do, I'd like an MIJ one really, or a lawsuit, basically mainly for playability (I like the MIM P but it does feel a bit clunky, I've had a go on MIA and MIJ's that have much thinner necks and lighter bodies), but then had the thought to changing the pickups - I've never done this before. The sound I get with the stock pickups is alright, but if there was something I can get that would either give it more of a vintage sound, or a gnarlier sound (vague terms, I know), it'd be interesting to try them out. Basically, any ideas, tips or experiences.... opinions, philosophies and deliberations.... much appreciated. Also - I've had a look at the Geezer Butler EMGs, what do people think of them? I've had a look at some demos but the differences seem extremely subtle, if anything at all! Cheers

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

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.

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

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.

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?

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...

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

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.

JJ Burnel is a perfect example. On that note, I should have mentioned tone as well. Smashing tone!

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.

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.

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

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.