Steve Browning

In my band we use a personal bank account in my name. The business account charges were prohibitive and the turnover didn't warrant it. 

I maintain full accounts and keep the guys fully up to date. I send them the file with a bank reconciliation done.

I do the same with CD sales and reconcile sales to the number of them left.

The JH-S solo on Kid is worthy of mention too. 

I would get the Ampeg Micro CL in the classifieds. I have one and it is plenty for the home and is quite a nice visual joke,  being a scaled down SVT. 

Single cut basses just look so wrong to me. 

5 hours ago, Jono Bolton said:

I'd be more interested in the P if the neck had dots instead of blocks. I don't know why Squier (and Fender) have blocks on their 70s Precisions when almost every genuine 70s Fender P I've seen has just had a normal neck on it.

Agreed. I'd have a pair of Classic Vibe Precisions in walnut if they had dots. 

Luckily for my wallet, I would only want a Precision, but I don't do maple necks. 

Product of 1958. Rosewood wasn't available until 1959.

7 minutes ago, Beedster said:

Steve, citing concepts such as excessive is not how Basschat works. If one is good, and two is very good, three must logically be….?

Fair point. If it was a Mesa Subway 2x15 I'd be on my way to Essex now (or even a 2x12).

Ok, I know I'm an endorsee, but this is the most versatile amp you'll find. It's a simply amazing bit of kit.

I'd genuinely buy it myself, but 3 is a little excessive.

2 hours ago, dmccombe7 said:

My dream amp. 

Just placed my order for one with Andertons few days ago.

Sods law. 

At that price it should go quickly. I've paid a lot more than this.

GLWTS

Dave

Can you not cancel your order, Dave?

I remember a wise man saying "Jeez, it's about preference". Remember saying that Tobie?

If I want to make a noise I have an Ampeg Micro CL set up. Just for the hilarious visual joke really. 

Generally I have a small usb mixer plugged into the pc and practice with headphones. 

3 minutes ago, TimR said:

 

YouTube is all about bringing attention to yourself. You won't get millions of people subscribing to a chanel where players are just playing roots or doing stuff anyone can do at home themselves. 

Thank god you cleared that up for me. I'd never have guessed.

On 04/04/2024 at 12:28, silverfoxnik said:

Not sure I get that reference, Steve.. 🤔

 

There's been a lot of mention in this thread about how a bass players primary role is to 'play (or support) the song' , which is an assertion I pretty much agree with. 

 

But equally, as a listening, creative musician, you also have to 'play the band' as well... 

 

Only my opinion of course, but I think Entwistle's style and approach to bass playing and creating bass lines, played the band context he was in  perfectly.

 

His playing next to Keith Moon's, created something different, something that set The Who apart from other bands.. Not dissimilar to JPJ and John Bonham in Led Zep, for example. 

 

In both cases, those two rhythm sections had a unique approach that elevated the band's music beyond the norm, and beyond others - hence why we still talk about them today. 

 

Doesn’t mean we all have to like it, but I personally respect that level of creativity and ambition. 

 

On a similar note, I'm a huge fan of James Jamerson's playing. And his approach was something different as well - for example, the bass line on 'What's Going On' is a masterclass to me...

 

But I think it's fair to say that what he played on that song isn't what 99% of other bass players would have played on that it.. 

 

Yet, it's (quite rightly) celebrated as a work of bass playing genius... 

 

Just my 2p worth of course. And there are loads of renowned bass players who 'I don't get', or like, or care for. 

 

But what I would say is that there's always something you can learn from those people that helps improve your own playing, or musical creativity, even just a little ... 

Hi Nik.

I just find his playing way more than is needed, and it leaves me a bit cold. It's all horses for courses, naturally enough. I don't profess to be the arbiter in any such discussion (none of us holds that distinction). I'm not much of a fan of any player that feels the need to draw attention to themselves, be they a YouTuber or virtuoso. Neither of them do stuff that I enjoy. 

I can't do much of what they do, but then I don't want to. I appreciate technique, don't get me wrong. It just doesn't float my boat.

Be careful, they might be phishing. 

John Entwistle. The bass equivalent of Yngwie Malmsteen.

Bought a guitar multi-fx pedal from Brian. Dead straightforward transaction. The pedal was posted straight away and was very well packaged. 

Tracking number was supplied and communication was excellent. 

Entirely trustworthy and highly recommended. 

On 20/03/2024 at 15:26, Woodinblack said:

 

So whats the best combo for accordian? I know, anything as long as its off! Didn't stop roland making a £4k V-Accordian though.

 

Actually the Ampeg A15, also available for bass as the B15. Who'd have thunk it. 

PM'd

On 19/03/2024 at 07:48, Downunderwonder said:

I wouldn't trust a 500w RMS rating on a 210 unless it was a very expensive one.

 

0

0

0

0

Is how to arrange two 210 cabs. You hear it far better and so does the audience when it's playing to the room.

 

200w through those Eden cabs should make plenty of noise.

 

Good luck with your search for some well priced used stuff.

 

Yeah but you don't want eliptical speakers.

O

O

O

O

... would be much better. 🙂

I would be tempted to contact this business - https://bassjapandirect.myshopify.com/en-gb

The videos they do for promotion suggest it's run by an English guy (though I don't know). They may well be able to offer you some advice (how to pack, who to use to courier etc.).

17 minutes ago, diskwave said:

Complete opposite here. Played an original Ray from 79 thru 91 and was never really happy. Heavy, kinda thin sounding. Been playing P's since I got back into it in 2000 and couldnt be happier. Funny ole world.

Same here. I have flirted with Rays over a number of years - starting with a 78. They just don't work for me. The sound just seems to disappear as you play the upper strings. Probably down to me, but I'll stick with a P-bass or two.

7 hours ago, casapete said:

A couple of years ago I decided to part with my beloved late 60’s Marshall 1974 18 watt combo.

I bought it for £45 in Shipley West Yorkshire around 1976, and it was my first ‘proper’ guitar amp. 

A vintage dealer made me an offer I couldn’t refuse, and what with Covid and stuff making my

finances a bit tight, I just thought it was time. It got shipped to Australia and then on to Hawaii

to it’s new owner, Kirk Hammet.

 

( I was promised a video of him playing the ‘Greeny’ Les Paul into it, but never chased it up -

maybe I should drop Kirk a reminder. )

 

A mate of mine had one of those. 2x12 and just volume and tone controls. He played a Grimshaw Les Paul through it, and I have never heard a better guitar sound. 

1 hour ago, Hutton said:

I know that. The info I offered was the luthier that changed the fretboard, why it was changed and the significance of the inlay. I also included before and after photos. I thought all of this info would be appreciated by the new owner. However, as I say I wish I hadn’t bothered and I will take this thread as a learning curve. Sorry for taking up bandwidth unnecessarily.

In fairness (though I doubt it would be seen in this way) I would have thought that is more likely to be disclosed to those making an enquiry, or even upon a sale. Other basses offered don't have a comprehensive history in the blurb.

Anyhow, my turn to waste bandwidth.

If it's the 2004 Jazz, the information provided is in the spiel about the bass.

I confess to having a rack setup. 

Unnecessary power conditioner 

Tuner

Main amp

Spare amp

In the back are a mains distribution unit and an isolated signal splitter to feed the inputs into the amps.

Not too hefty and convenient.

My only complaint is that the cabs are slightly thinner so the sides slightly overhang.