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  1. Hmm... interesting video but knowing a little about instrument building I’m not in any hurry to purchase one of their basses!
  2. Every opportunity offered without pay is another nail in the coffin of playing music being a vocation rather than a hobby. The fact they’re upfront about it makes little difference. What a sh*t society we live in.
  3. Clearly the volute didn’t help with strengthening the neck/headstock area. I agree it is unusual and sympathies - hope you get it fixed.
  4. Yes I remember a couple of “interesting situations with the belt hook and not tight enough belt (or forgetting to put a belt on) 😀 Although slightly unorthodox (but then that’s a Stick anyway), a stand makes perfect sense. I spent 20+ practising bass seated only to realise it’s actually much better to stand - the instrument hangs in a far more natural place. At least the Stick is relatively light and with said belt hook take the pressure off your shoulders.
  5. Both times I was intrigued by it but couldn’t get on with it. I think it requires quite dedicated practice, and not coming from a piano I struggled a bit with tapping with both hands. In retrospect I wish I’d kept it (especially the Grand Stick as I paid £2500 for it and ended up selling it for £1200!!) as it is the closest you can get to a keyboard range and facility with a stronger instrument and has a unique sound. Do let me know how you get on - and I will keep an eye out on Stickist. Having got my last Stick from the US, I’d much prefer to source one in the U.K. as import charges really mount up.
  6. It’s a while ago now but I’ve owned two Sticks, one an old Zebrano 10-string and more recently a 12-string grand in rosewood. In terms of action and relief I’d be aiming for an almost (if not totally) flat board - not sure whether the tailboard has a truss rod, but as you’re tapping rather than plucking the strings don’t move nearly as much. The strings should then be basically as low as they can be without buzzing or choking - and a flat board will help with this as more consistent action top to bottom. The lowest bass strings may need a small tweak up given their thicker diameter but not much - the idea is almost to be able to “press” the strings rather than whack them onto the board, and also helps enormously when playing anything legato. If it was set up as matched bass then you may need to request longer bridge pieces as indicated - I believe they use different-length pieces. What tuning are you going for out of interest? One of the things that has held the Stick back IMHO is the large variety of tunings. They’re all great but it makes it hard to get any standardised or common approach (and is not really reflected on any other instrument - whilst there are variations pretty much every stringed instrument has a most popular common tuning). I had lessons from Jim Lampi, who really is excellent (and I believe started out on sax), and, hailing from California, I asked him why Emmett never opened up manufacturing to get a wider audience. I think the gist was that it is his business and he can maintain the quality by doing it all in-house, and didn’t feel the need to embark on “licensing” it or outsourcing manufacture. I don’t have a Stick anymore but would love to get another one. It’s just a shame they’re relatively rare and hard to find.
  7. I thought it was quite amusing and not at all lazy. Stereotypes they may be but quite well-written. Obviously the hep jazz cat wasn’t very good - as we know, jazz is more aimless noodling* rather than odd time signatures - that would be number 14 - the ex-music school fusion nutjob who listens to the Elektrik Band, Tribal Tech, UZEB and the Yellowjackets all day and cannot for the life of them find the “1” * not my phrase but beloved by some on BC...
  8. It always amazes me when I read comments about 1mm different string spacing making all the difference. Whilst I can appreciate that we all have different physiology, 1mm? Having moved from a Streamer Stage 1 (20mm) to an Ibanez (16.5mm) I can just about tell there is a difference, and that’s only because they were both 6-strings, so combined gaps strings B-C end up with a total of 1.75cm, resulting in a visible difference. Two 4-strings with 1mm different spacing only adds up to a 3mm difference...
  9. Eh? You’ve lost me.... You saw a bass for trade with an advertised trade price roughly 20% higher than the market value for the bass you wanted to offer, so you didn’t message the seller? Or have I got the wrong end of the stick? Makes perfect sense to me to make the cash sale lower than the trade value, after all, if you have a bass you want to trade and they’re in the same ballpark according to the market, that’s what negotiation is for
  10. There’s quite a few in the over £2,500 bracket, many of which aren’t in the UK, the usual churn of high-end makes such as Fodera, Ken Smith, Pedulla, Modulus etc plus some that I can only describe as weird and wonderful. Compared to the number of 4-string players, the 6 is quite niche, and whilst it is possible to get a good used 6 relatively cheaply, most tend to be rather expensive, which further limits the affordability, so they hang around.
  11. Actually CSFs and KPIs are usually set by external consultants these days
  12. I bought a mint SS1 5 for £750, a Streamer LX Jazzman 5 for £500 and an ash Corvette 6 for £475. Warwick prices are no reflection on worth. The Streamer Stage 2 has always been ugh more rare, so commands a higher price. I wouldn’t pay the thick end of £2K nowadays - too many better ergonomic and versatile basses around for a lot less...
  13. Hardly a like for like comparison, is it? £1 is a lot to some people, but it’s not really relevant when we’re talking lowball offers, compared to the asking price. I guess it depends how much you value something. If someone offered me 50% of my asking price I’d politely ask them to F.R.O.
  14. I’ve got to disagree with you. It’s a crappy lowball offer praying on the expectation that the seller is so desperate they’ll give it away. Unless of course it is massively over-priced in the first place! Then again it’s better not to be in a position to be desperate for the cash in the first place but such is a musician’s life!
  15. Presumably he isn’t going to pay for the return airfare from the US out of his own pocket, so even if he commands no appearance fee, and given that he’s unlikely to attract a crowd of thousands, it’s not unreasonable to charge a smallish fee to meet the man at the top of one of the most well-known and iconic bass manufacturers? ... and for the record I’ve never owned a Ric and haven’t like them when I have tried one, so not a fanboi
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