meterman

I listened to the first song then had to bail out. The individual musicians are undoubtedly way more talented than I’ll ever possibly be, but why does it have to be so bland? When soul or r’n’b or jazz gets so smoothed out to the point where there’s no stinky funk left in it, I quickly lose interest. But that’s on me, not the band. Couldn’t take those vocals for more than one song either. Sorry, OP. But I do appreciate being given new stuff to listen to, so thank you, even if it’s not for me.

Am quite tempted to get one of these, then put an oval pickguard on it. Then, install active electronics and EQ controls, maybe on a chromed metal plate or something. Oh, and get it refinished in black sparkle. Price of the upgrades is a bit much, otherwise I’d be on it like Vanessa Feltz on a roast dinner. Might do it anyway. Vanessa Feltz and a roast dinner I mean, not the Joe Dart bass.

I love short scale basses. But I also love my Jazz bass. Different basses for different jobs, at least for me. Also, to the OP - that looks like a brilliant Mustang you’ve got there and I hope it serves you well. And if anyone ever tells you they’re no good, just remind them of the multi-million selling artists that made big hit records or hugely influential ones with them, like the usual suspects: The Beatles (and Paul McCartney solo) Rolling Stones, David Bowie, Talking Heads, The Kinks, XTC, Average White Band, CAN, Sly Stone, Wilco, The Damned, Traffic, Serge Gainsbourg, Black Keys, Medeski Martin & Wood, Sonic Youth, Adam Yauch (Beastie Boys), Pearl Jam, etc... loads of bands use them, otherwise Fender and all the other companies wouldn’t have them in their current ranges.

@Reggaebass I don’t do it often but whenever I look on ebay and type ‘vintage’ into the musical instruments section, it’ll be awash with 2 year old Squier gear, or stuff that was bought as a kids Christmas present a few months ago. I think folks have forgotten that a lot of second hand stuff is mostly just second hand stuff, not vintage at all. Makes me want to smash the computer screen in 😡 But then I’d have to sell the broken parts on ebay. As ‘vintage’ laptop parts probably. 😂

In the vintage guitar shop I used to work in, the general consensus among staff and customers seemed to be pre-1980, for some unknown random reason. I always thought pre-1970 or pre-1966 would have been nearer the mark. We did sell pre-WWI instruments sometimes, which often looked (and smelled like) closer to antiques. Depends on the viewpoint of the buyer or seller to some extent, maybe? I’m sure George Gruhn would have a different take on it.

As much as I love the first Damned album, when Paul Gray joined them on bass, that was a class move. I loved his playing on all the Eddie & The Hot Rods records, but with the Damned he just had a bit more bite. Brilliant cover version btw ❤️

Even before moving to France I’d started listening to FIP online, maybe in 2006 or so. It’s the music stations of France Inter. They have an ad-free, news-free, day long programme with an eclectic mix of new and older music, so you get a bit of everything. It’s not all French music either, I’ve heard Black Sabbath played next to some out-there electronica, then some blues or classical, then some funk or soul, and I’m always hearing tunes that are new to me. Or they’ll broadcast live concerts exclusive to the station. Presenters only occasionally make announcements for future shows or events, otherwise there’s no chat. They also have a range of ‘genre’ stations so you can pick a rock and metal station for the day, or have reggae or jazz, or classical, or left field techno, or a bit of everything in the main station. The jazz and reggae programming is decent, and often has me checking to see what’s currently playing. A couple of pirate stations in Brighton used to rebroadcast FIP from Kemptown to Hove. I guess now it’s all online there’s no need. https://www.radiofrance.fr/fip

Playing really well and making the audience dance is the ultimate gig win for me. Also, maybe getting paid without having to belt the promoter first. I’d count that as a bonus. But if the gig is a funeral send-off, or a commemorative gig, it’s a different story. Those are all about making people cry before you pack up your gear and hit the sauce, along with everyone else. Although I’ve only done two of those so YMMV as folks say.

Do it! Or join the gougers and put CDrs on ebay and Discogs yourself at crazy inflated prices. I found one of my bands CDrs on Discogs the other day going for 10x the original merch price. They’ll never sell it for that much but it still makes me laugh to see them try it on... 😂

I missed out on RSD yesterday as the nearest record shop is a couple of cities away from me. It doesn’t really happen down here. Ever since I moved out to the sticks 4 years ago I haven’t passed an actual record shop anywhere near me. It’s a fair trek to even get food or medicines, never mind records. But this morning I went to a local vidé grenier (basically yer French car boot sale) and picked up “Melting Pot” by Booker T & The MG’s, the 3rd Velvet Underground album, and a cracking two-sider 7” from when the Bee Gees still had a bit of psychedelia in them. Also got some cassettes for my Tascam 4-track recorder, a Tour De France promotional cup that I’ll turn into a shaker, and a toy piano. Total cost? 8 euros 💥 (and no queues 👍) Scorchiooooo!!!

I left school in 1987, so not me. All the music lessons and tutoring that did me any good happened in primary schools and comprehensives.

I was really lucky with all but one of my music teachers, they mostly seemed to want to help me progress. Wanting to do orchestral playing might have swayed them, but I remember our head of music at one school would let you keep any school instrument during holidays if you played in the school orchestra. I always fancied a go on upright bass so even though I was only the percussionist I asked if I could borrow a double bass over the summer holidays in 1983. And he said “if you can carry it, you can borrow it” so I did, and had blistered fingers all that summer, but it was a brilliant thing to let a teenager take a big old bass away on trust 👍 Don’t know if stuff like that still happens now?

I never really ‘got’ the idea of having a birth year instrument, it seems weirdly sentimental to me, but I did have a few 1968 Fenders and Gibson guitars over the years, but that was just because I liked those particular instruments and I’d got good deals on them. I almost got a ‘68 Mustang bass that had faded from Daphne Blue to a sort of pale green and it was fabulous (if you like Mustangs), but the seller backed out on the day of the sale otherwise I might still have owned it now. £500 for an all-original ‘68 Mustang 15 years ago would have been a decent score.

Our family moved around a lot so I went to 7 schools, but always got into the school band wherever we were. My 1st instrument was (and still is) percussion so I learned drum notation very early, 7 or 8 years old. Then I took violin lessons for a year so learned some basic stave stuff at primary school. But once I got to a comprehensive school I chose music as a subject and learned to read and write music. Never got up to the standard of being able to sight read, but being able to even slowly read a piece in advance and write a little ‘cheat sheet’ for sessions and dep gigs definitely came in handy and still does. Last bit of music studying I properly did was in the mid 1980s, had a few piano lessons and some compositional theory teaching. Often I think (well, I know!) I know very little compared with a lot of other musicians I’ve worked with, but having the little amount of theory knowledge has helped me a lot over the years.

Massive thanks to everyone for your suggestions, I really appreciate it. 🙏 I think I’ve narrowed it down to the cheapest Ditto or a Joyo Aquarius or Ironloop pedal. Or a preowned Boss if I can find one that hasn’t been absolutely thrashed. It’s only ever going to see studio use but they all look pretty good. Edit: just remembered I had a Digitech Jamman Solo XT looper pedal for about 5 minutes many years ago but there was a latency issue with it and it was really hard to get accurate loops down on it. And the build quality truly was shockingly poor. Sent it back to the dealer. Not sure if I just got a duff one, but I’m not tempted to revisit one. Boss, Ditto or Joyo I reckon. Or an Ironloop if I can find one. Thank you everyone, you are brilliant. Have an ace weekend 👍

It was just a solo gig, guitar and vocals. I don’t totally rule out live shows again but there’s no venues where I live, so it’s unlikely I’ll play live again. I still make records so I still play and get paid, but nobody sees me and my terrible technique. Perfect really 😂

Can anyone recommend what they use? I used to have an Akai Headrush II but there was so much other stuff in it that I had to get the manual out every time I used it. It was pretty good but I can’t deal with too much tech while I’m playing and recording. Does anyone know any good, easy-to-use looper pedals? Any recommendations will be greatly received. Thank you in advice BC community 🙏

It was 2022. I ate some pizza, drank a beer, went home, and retired from playing live for the foreseeable future. Pretty easy, really 👍

I got a Hofner violin bass due to knackered shoulder / weight issues a few years ago and in terms of weight it was like there was virtually nothing there, it weighed about as much as a bag of crisps. Unfortunately, the neck dive was incredible, even sitting down, so I let it go. I still have a CV Mustang which is very light and a Squier Jazz which is surprisingly light too, but I only play bass sitting down nowadays so weight (up to a point) isn’t such an issue. Shoulder still is a problem though! I remember seeing Incognito live once and whoever was on bass sat down through the whole set. The audience was still dancing 👍

I don’t know what Fender were making their Musicmaster basses from in the late 70s but mine was so insanely heavy that if you played it sitting down for more than about 45 minutes, your leg would go numb from the weight of it. It did sound really good though, I will admit. I once put black nylon tapewounds on my short scale Shaftesbury tele bass copy and on the E string you couldn’t hear any difference in pitch until you got close up to the 12th fret. The gauge on the was 115, and it sort of sounded like “mfffffff” wherever you played. Never went heavier than 100 after that. Had a 95 E on a Hofner violin bass but that was still thud central.

Genuinely sorry to hear about this. My condolences go to his family, his friends and the BC community that knew him. Rest In Peace. x

Lots of interesting responses in this thread. Obviously, some local music shops are great and some are dire. The nearest music shop to me is about 3 hours and 40 minutes away, and involves an hour and 15 minute walk to the nearby town to catch a train to the nearest city, and then catch a shuttle bus that takes me out to a commercial trading estate off a motorway junction. And when you get there it looks great - it’s bright and clean, well stocked and full of all manner of stringed instruments, pianos, brass and woodwind instruments, some drums and synths, plus accessories of all kinds. Problem is, on the occasions I’ve visited they’ve never had what I’ve wanted, or even a close equivalent, and they seem unable or unwilling to order items in especially. And I’m not exactly after niche gear. Or maybe flatwound strings are niche down here? So I no longer bother even phoning them. And most things I buy come from Thomann now, who usually have what I need and will deliver it to my door. If they’re out of stock of something I need then chances are Bax France will have it. And they’re just as professional over here as Thomann. Their reputation varies elsewhere but over here, they’ve been 100% reliable for me for years. I know folks (understandably) moan about poor in-store customer service but bricks and mortar shops that can’t do the business properly aren’t worth bothering with. I’ve done music retail and it’s not difficult to get right if you’ve got a positive attitude and can get on with suppliers and keep your customers on your side. Having said that, I’ve seen some great music shops in the UK sadly close their doors permanently over the last 15-20 years and if they can’t make it, then that’s not a good sign for future generations of musicians.

The bridges with the rosewood strip / saddle are notorious for sagging. I’ve bent mine back into shape once but wouldn’t do it again, it’d probably snap. There was an American guy who was selling solid steel repro bridges on Reverb but the price was eye watering. Don’t know if he’s still selling them? And yes, the Evets Corp are definitely not my cup of tea.

I almost came close to buying another Dano to rob for spare parts but then I thought, “Nah, stuff ‘em”. Shame really because their guitars and basses are great.

When I was younger I went from London to Zurich for a one-off gig. Have done Isle Of Wight to Bulgaria for a festival gig as well. Decent money for both, but I wouldn’t do it nowadays, I’m waaaaay too lazy now. Would probably only gig in my living room these days. Most likely in my pyjamas as well 😂