Stub Mandrel

This isn't the sort of legislation where someone will be checking everyone for compliance. Like Health and Safety, only high risk organisations will be inspected. For others it's a case of 'if something goes wrong, you had better have your ducks in a row'. And just like H&S, that means risk assessing and then taking any required action. If something bad happens but you can show your assessment of risk was reasonable and you took appropriate actions to mitigate that risk, you have a sound defence.

Copyright theft. Taking someone else's work and passing it of as your own.

The original is a monster, but this is for a band that plays about 25% CCR songs.

Heard it through the grapevine (Creedence CR version). Interesting walking line, no two tabs remotely agree, I will have to use my ears...

From basses on the sofa... only two of these are shorties, but they are all compact.

Which do you prefer? Hamer vs. Hamer... I'll get my coat.

It fascinates me to see this. Social mediais awash with ripped off content, rarely with acknowledgement of the original creator beyond cynical and meaningless disclaimer statements. What appears different here is not reposting someone's work, but studiously reproducing it and putting it out there as original. Thevthing I don't get is the guy is clearly talented. Even if he doesn't reach Rick Beato's gold standard and relies on editing tricks, he can learn and play complex music well enough. It seems he struggles to improvise or create at even a relatively basic level (even the level we do). It's reminiscent of the phenomenon known as the 'idiot savant' - ability without understanding (I'm not saying he's an idiot, though he may be a fool). There are hints of other psychological issues around disregard for others or lack of consideration. Presumably his instagram started small, and its growth may be driven more by his personal needs rather than base greed. He may be dealing with a range of issues that don't excuse what he's done but provide an explanation.

An interesting question. I knew I couldn't afford a 'year of birth' bass. I already had the Squier 40th P as my first 'proper' precision (I won't count the kit), and wanted a more 'authentic' vintage experience. I looked at the Squier CV, then the Fender Vintera. Each step up brought a bit more, as well as ramping the cost. But because a lot of my work was delayed through Covid I had a very good year with some big contracts finishing. I could afford it, so I looked around for a chance to try the AVII. A Strings in Treforest had one in stock and their price was the best I could find in the UK, they are fairly local to me and a great place to go. They let me play with it for ages, it sounded great, and I liked it, but the action was a bit high for me and too much neck relief. Their tech took it away for twenty to thirty minutes and set it up for me. After that, it felt great. Retrospectively, it doesn't sound dramatically different to the Squire 40th; basically both have a great vintage sound. The neck on the Squier with its satin finish is nicer to play. But it is a real experience to play and I do love gigging it. The one thing is the clay dots disappear into the amber varnish and rosewood board under some stage lights, which can be disorienting. My partner has a vinyl cutter and made me loads of tiny 1/16" dots I put over them, and they work brilliantly - I haven't rubbed any off yet either, although they are removable. Sound: One day I set up my home rig tweaked it for a good, natural sound and did a lot of A/B tests, and I was sceptical the AVII would sound particularly distinctive. Actually, it sounded incredible, which I felt validated my first impressions. Finish: it was (and still is) immaculate, lots of lovely case candy. The attention to detail is great. A steel sheet under the pickguard, not foil. Vintage style electrics. Lots of modern makers marks. Mimicing but not faking 60s style e.g. dated 2022 but in the vintage style. Reverse tuners, hootenany button, thumb rest, bridge and pup covers. Feel: The C neck is big, but not baseball-bat chunky. It is not super light, but neither is it very heavy, and it balances well. The very glossy neck is a bit sticky, and I fight the urge to flat it a bit. It's hard to express, but to me it feels special and it inspires me to play my best, but it's not as easy to play as my Flea Jazz, the Performer or the Hohner B2 - which are three of the easiest playing instruments I've ever played. Looks: it looks like a nice instrument, but I think relatively few people would realise it is in the early 60s style; at a distance it's only the style of the sunburst that marks it out as such. The G&G hardshell case was listed at about £300, so knock that off the price (£1,925) and it felt like a steal compared to anything from the custom shop. The cases are now £389(!!!) and the basses are £2,179 and don't include a case... so not such a deal. Long and short, I gig it a lot, but it's not the bass I choose when I want an easy time of it. I hope I'm able to put some honest wear on it while I am still able to gig it.

Perhaps that is why I like the music I like so much. You can view videos of Hawkwind gigs, and they don't play the same song the same two nights running and will sometimes randomly improvise a song (notably Delilah on one recent live album). Seeing Arthur Brown when the guitarist's combo blew a fuse mid-song, and Arthur helped him fix it while the drummer and bass player improvised for three or four minutes. Or any band where you can see the little mistakes and recoveries or the bits where they pull it all together. The best live music is like kintsugi. The flaws are the golden bits that raise it from the ordinary to the exceptional.

I need another two basses so I can get four in each photo! 🙂

So... about time I got my lot done. The Hohner B2 that lives with my partner needed some tlc - loose ground wire, loose jack and two loose pots (all down to me rushing reassembly after a refin). So, how do I sort them into logical groups? I've tried... enjoy! The little ones. Headless and short scale. Hohner B2 (my second bass). Hohner Professional Jack Custom V (name longer than the bass!) Kay (not Teisco) Tulip. Squier Jaguar Short Scale. The Jazz(ish). Squire Standard Jazz (2002, fitted with mutes). Fender Flea Signature Jazz. Fender Performer (intended succesor for the Jazz). Sire Marcus Miller P10 (Precision shape but feels and sounds like a Jazz). The Precisions Harley Benton kit bass with Squier neck (it came with the fake decal. Moster sound and plays well!) Fender American Vintage II 1960 Precision. Squier 40th Anniversary Precision. Maya Fretless Electric Bass. The Odd Bunch Harley Benton MB5 (Warman pickup and 5-way rotary selector). Deathburger (my bits, the HB kit neck, Wilinson hardware and quilted maple body from an unfinished blank). Harley Benton Marquess 5, active. The Omnium Gatherum Tanglewood Acoustic bass (Labella nylon tapewounds and aftermarket cheap piezo system). Epiphone Embassy. Westone Thunder 1.

Well there you go...

My brother is obsessed with this stuff: https://www.montysguitars.com/products/montys-montypresso-relic-wax

The genie is well and truly out of the bottle.

A brave move 😬

Here's some useful advice on re-skinning an antique zither banjo. After soaking the skin, fitting a flesh hoop, stretching the skin with the hoop and carefully tensioning all eighteen screws, you may find it useful to emply a pair of screwdrivers to coax the nut blank in its little plastic bag out of the inside of the instrument.

The Dunning-Kruger Effect White Band.

Saw a band on Saturday. Bass was almost inaudible much of the time.

If you buy an 'official' reissue there are plenty of markings that make it clear it isn't original. As for fooling people... I doubt any more than a handful of people even know it's anything other than a precision, I bought it for myself not anyone else. As for relicing, I was a sceptic until I bought a Flea Jazz. It was the only bass in the shop (Guitar Guitar Birmingham, so plenty of choice) that had the feel and sound I wanted. Wasn't sure about the finish, but now it's my go to instrument if I want/need an easy time of a gig.

Theonly praise that really counts is from other musicians.

Latest humiliation... https://www.ultimate-guitar.com/news/general_music_news/rick-beato-speaks-up-on-giacomo-turra-plagiarism-controversy-he-couldnt-play-well-enough-to-be-on-my-channel/

I was thinking why are the band so far from the drumkit...

I bought an American Vintage II because I know I can't afford a real early 60s bass. I do wish it felt a bit more 'worn in', although I know I could take the wet and dry paper to it... or spend a big chunk again for custom shop relicing. The existence of such accurate 'copies' with 100% honesty in what they are, from serial number to neck and body markings, defeats most if not all the justifications for creating these 'fakes/forgeries'. Whatever justification people use, it's clear that one or two owners down the line someone will get scammed. Also, people like me with zero expertise will stop buying real vintage. The only ones I would trust now, without help, belong to a couple of friends who have had them since the 70s or earlier. And even if I had them, would their value appreciate as fakes get more abundant?

A rugby club up in the valleys on Sunday early evening. Modest attendance but enthusiastic reception for Bendricks Rock. I'd driven to London at 1:30 am, got four hours of non-sleep from 5-9 then drove back for 1pm. About 20 minutes of fitful nap, eat, shower lots of tea, then picked up by vocalist for 50 minute drive. I was amazed that not only did I not eff-up, I had a good gig. Nearly dropped off in the car back. Now I'm going to sleep early, goodnight.