Beedster

Sadly and with apologies to the BCer concerned I wasn't able to go ahead with the trade deal on this so it remains available. I think I might pop it up to one of the midlands shops on consignment sale soon as it's the location/collection/delivery thing that seems to make this a bit of a challenge to sell, certainly from the wilds of East Kent 👍 

Explain?

7 hours ago, Steve Browning said:

Oh how I wish I could do the same!!

6 hours ago, Sean said:

I had a similar experience letting that maple board rocking horse poo BB2024MX get away. I'd still buy that. 

I feel your pain guys, but I've engineered a very simple GAS-management rule now, I only own basses that have Fender compatible 4-bolt neck construction. Basses that arrive in my place cease to be basses, they become donors. There's two real benefits, some necks just sing with some bodies, and it's interesting and satisfying to go through that journey, and I can beat the urge for a new bass by simply swapping around a few components. I've about 4 fretless and six fretted necks, and around 10 loaded bodies (Precision, Jazz, Tele, Jag). Obviously neck-through basses like that in this thread rather mess things up, which is one reason I wouldn't chase it again if it came up for sale, no matter how lovely it was, same with the BB2024MX 👍

7 minutes ago, DF Shortscale said:

 

Kraftwerk are an interesting example to bring into this, they were innovating and creating original works *despite* the fact that what they were doing was technically (and financially) very difficult, and out of most people's reach. Rarity, innovation and skill and craft are all fundamental to works of art we perceive to be special and meaningful. 

 

As a couple of more contemporary examples, Aphex Twin was (is?) an innovator, and his process and tools were shrouded in mystery. Similarly, Photek pushed samplers beyond what people thought they were capable of, and his tools and techniques were also mysterious at the time, and on top of that, his records were not easy to get hold of, especially in the early days. 

 

In all 3 cases, innovation, craft and skill and rarity played a huge role in what made people value those artists and their works. Meanwhile, if my fat uncle Dave can ask chat gpt to crap out an acid techno banger or a Kraftwerk-style song in under 12 seconds, all of that craft, skill and rarity goes down the toilet. If you played an Aphex Twin tune and an AI generated ambient acid techno track to a 15 year old, they would probably assume both were AI generated and move on.

 

The lines between 'digital' and AI are becoming very blurry. In the art/graphics world, people can often no longer tell the difference between 3D modelled / Blender-made artworks and AI generated images. And people attach zero value to anything AI generated, which in turn means they are increasingly attaching zero value to anything digital at all. Digital tools might be convenient and clever, but if the output of those tools has no perceived value, then people will stop paying to use those tools. (Which is partly why AI companies are starting to be in such deep financial trouble right now).

Nice post. I studied Electronic Music Technology for three years in the early 80's largely as the result of Kraftwerk, Tangerine Dream, and dare I say it, Georgio Moroder (as well as the BBC Radiophonic Workshop)! For me, while at the time the technological achievement was huge, it was clear that by the early 90's pretty much any idiot with a synth could do what those guys had done. Does that lessen anything?

I think it's like this....

There are probably 4-year olds who can play it now, but man, so what. In it's moment it was glorious, every 14-year old kid on the planet wanted to be able to play it. I listen to Kraftwerk today and love the fact that you can hear the hiss as they turned on a machine, various clicks and thumps and other random noises, the odd cough or grumble. My acoustics lecturer told me once that the test of a good orchestral recording was whether you could hear the pages being turned, i have always felt that. As is so often the case, it's the errors/weaknesses/nuances that make the art - the 5/4 bar in Rain, the mic stand falling over in Long Distance Love, Bonzo's squeaky pedal - OK they're extreme examples but the reality is that when music is made by humans in real time you can tell. AI can probably do that, but it probably won't because the people who'd use AI to make music would not see music that way.   

4 hours ago, BigRedX said:

And stop being nostalgic for the old days. I certainly don't miss them. My studio now fits entirely on my desk and with everything contained within my DAW there are no incompatibilities. I've no desire to go back to the ways of working in the 80s when in order to connect everything together I had to contend with two different CV standards, 2 different gate standards, 3 different types of clock as well as MIDI in order to get everything to talk to each other. I don't miss peering at the letterbox sized display of the Roland Micro-composer which could only show me one note on one channel at a time. The early MIDI sequencers weren't much better, and often it was quicker to have another go at playing what you wanted rather than trying to edit even a couple of wrong notes.

And that was all state of the art by comparison with how =Kraftwerk recorded their first album, I must re-read that book 

On 28/01/2026 at 09:24, SumOne said:

people will want to see real people perform live music with instruments. 

I hope so

27 minutes ago, hiram.k.hackenbacker said:

My old bass. Here it is being played….

 

 

That is rather good 👍 

There’s good advice and experience above, I don’t think it’s enough, others do, you won’t know unless you try 👍

On 22/01/2026 at 10:40, LombardPhill said:

The type of scenario I'm thinking about is un-mic'd drum kit, small PA for vocals, audience of 50-100 people

Then the answer is no 

1 hour ago, wateroftyne said:

Good luck with the sale, but I have to ask...

What on earth is going on with that marketing copy on the box?

59 minutes ago, ezbass said:

Carey has been on the mushrooms.

I nearly bought a pair of these a few years back, read the marketing and decided not to  

I imagine they're a bloody great way of getting that classic '51/'53/'55 tone out of a Jazz though, so still very tempted 

33 minutes ago, Ed_S said:

it came with a flightcase style clip-on 'lid' that made it cuboid in transport and protected the panel/patch-bay

That I think it going to be the downfall of this when owner reviews emerge, I long ago ditched attractive open front/back retro tolex head cases due to the number of times I or one of my bandmates broke controls when moving the gear around. I get that the manufacturers seem to think that this is more of an installation unit - theatre pits, rehearsal rooms, and studios - but they're all situations in which, while the unit might not be in and out of a van or car boot every day, space is still at a premium, and instruments, mic/drum stands, and various other solid objects are often being moved around with less care than should be the case (my DB's current impromptu extra soundhole is testament to the effects of a poorly placed mic stand and a clumsy musician). I've not found any evidence of the manufacturer asking bassists themselves what they need from a small form factor combo in the was Mesa/ @agedhorse have been doing recently. Perhaps they'll need to do some after the fact market research re cases etc? 

13 hours ago, Bassassin said:

 

Stoopidest bass-related decision I ever made, knocking that back. Bugger.

The thing with so many unique basses I suspect is that it's the uniqueness that draws us. Yes, it was very very nice bass, beautifully designed and engineered, and with some lovely tonal options. But for me, doing relatively bog standard gigs in bog standard venues, pretty any precision with a decent PUP, a stable neck, and adequate bridge and tuners, does the job. I've loved playing and owning many unique basses, but i wanted them way more than I needed them, something that at last I appear to have worked out of my system   

5-string set reversible, £60?

Just now, Gazz said:

Thanks, but no thanks, I've just fit a set of Schallers on my P Bass and the plates are MASSIVE, I was lucky to get them on.... 

These are defo small plates but no worries, not a whole lot of brushed tuners out there, these are discontinued 👍

The bass in question

Withdrawing this and will part it out in the next couple of weeks, once again too many basses 👍

I’ve got a set of Schaller BM brushed tuners I’m about to list for sale 👍

Going to a very good home 👍

57 minutes ago, Silky999 said:

@Beedster, give me a message with what you you’re looking for and whether they are pre-finished or finished bodies. Finished bodies can be an absolute nightmare with new routing as they can chip and lift finish. 

Thanks @Silky999, both pre-finished, I've dropped you a PM 👍

Two bodies needing an additional rout, ideally I’d be able to do it by post/courier 👍

2 minutes ago, Gazz said:

Here ya go yer nosey bugger... See what yaking on about... 🙂😁

Ah, I think we were referring to the grooves the height screws sit in to reduce lateral play, hence the confusion. Very nice bit of metalwork that either way 👍

1 minute ago, Beedster said:

 

Mate, it’s a bass forum, you never have to defend a bass purchase, we’re just nosy 👍

….and second to tonewoods, the characteristics of various bridges animates most of us way more than should be the case with otherwise sane humans 👍

Frankly it does look rather beautiful 👍

4 minutes ago, Gazz said:

Will do, later when I can be arsed to take em... I'll post on here.  What am I defending my choice of bass bridge?, it's only, a bloody bridge for god sake... 

Mate, it’s a bass forum, you never have to defend a bass purchase, we’re just nosy 👍