cameltoe

Poundland battery!

[quote name='Thunderbird' timestamp='1405874919' post='2506042'] He says solder is covering the numbers on the pots up seems a bit suspect to me And home come the poles have been raised on the G string like that? is it to give it more volume? [/quote] '57's came with raised A-pole pieces. No one really knows why- it was apparently to even out the volume at the time, but since then we've learnt to just raise the A side of the pickup over the E side. These p'ups are the wrong way round, so we end up with raised G strings!! Fnar fnar The solder mess on the pots looks absolutely guff.

[quote name='Ktmman' timestamp='1405791652' post='2505330'] Frets look huge...Did they have jumbo frets then? [/quote] Well the vintage '57 ('58,'59) he's modeled it on certainly didn't. And I can never understand why people have such trouble telling the difference between Poly and Nitro- I see this a lot, even on basschat- 'thin poly finish, possibly nitro...' They feel NOTHING alike! If it's nitro, you know about it!!

[quote name='KiOgon' timestamp='1405873972' post='2506031'] [b] [size=4]"Raised D string pickup "[/size][/b] [b] [size=4]Started by [url="http://basschat.co.uk/user/5318-cameltoe/"]cameltoe[/url], Yesterday, 05:22 PM [/size][/b] Looks like the raised poles are on the G string to me [/quote] Yup, even worse than I first suspected!! That'll teach me to post first, look later!!

They look like the surface of the sun! Awesome! Never liked tort, I guess because I've only seen repro stuff. The orange tort on the white jag looks great!

Yes, rolled fingerboard edges!! Man after my own heart. I personally would be damn hard pushed to buy a bass that didn't have them-I don't think i'd even like the bass if it didn't have them.

[quote name='gsgbass' timestamp='1405784260' post='2505236'] I think that's more opinion than fact. My Am. Std. is as good as any. I've seen, and played some MIM's that were right on. The Roger Waters Precision for one, is a great playing well made MIM Precision. [/quote] Yup, I sold my 2005 Am St. but my 2008 Road Worn remains and will never be sold. Would like to try the 2008- series US instruments, but I'd be after a light one to part with over 1k. And by light, I mean 8lbs or less.

Not a version I'm all that familiar with, but have stumbled across one locally, which requires a little bit of TLC, for £200. It's white pearl finish, very Duff, with a few nicks and dings. The person selling seems to think there is an issue with the neck- to be honest the relief looked a little high for my liking, but I like my action very, very low. Other than that it seemed ok, and just that a minor truss tweak may be needed. Had a typical 'music shop' set up, if you know what I mean, and the guy couldn't articulate what exactly he felt was wrong, other than his mate had told him it needed a shim (I've noticed this has become the default solution for people who don't really know what they are doing). I wouldn't have shimmed it- neck angle seemed fine and loads of adjustment left in the bridge. The electronics had a seized pot, but I didn't have the chance to test to see if it all worked, but at a glance everything seemed soldered together ok and all original by the look of it. I'm wondering whether to take a punt on it- I'll be honest, it's a bit hair metal for my taste, but I am a fender fan and I'm always on the lookout for a bit if a bargain, so wondered what the consensus was on these basses in general (bearing in mind I'm a P fan) and how this deal sounds?

This caught my eye: http://www.ebay.co.uk/itm/111410948590 Pickups are the wrong way round, and the neck appears to have been oversprayed with some brown gloop. Not really sure what to make of it to be honest!

[quote name='lojo' timestamp='1405177171' post='2499442'] Is the bass playing slot job meeting Gender Equality rules each time there is an opening in that band ? [/quote] Ha, I'd like to ask the same question to Billy Corgan!!

Temperance Movement went down well for us- ain't no telling. Nice bass line too. Black Keys as above- a good one would be lonely boy I reckon.

Bought a wedge monitor off mike, very easy transaction and prompt delivery down to Cornwall! Happy to answer my questions and take pics for me, top service

Free! I had to buy a minimum of 1 metre to repair the walnut plug in my '57 P bass headstock (that was drilled out after truss rod snapped) of which I used roughly 2", so plenty left for similar jobs or a build! 10mm diameter, fitted very snug in the empty plug hole of my '57. PM me!

I hate when stuff like this happens. We've been messed around a few times by a couple of places, most recently by a certain pub in Perranporth, Cornwall. Had our first booking there (to be honest, not a place we'd desperately want to play, but a new venue all the same) in the calendar for a good 6 months. Drummer rings to confirm the gig a week out- they sound cagey but confirm non the less- gets a call back within the hour to say they thought they were booking a different band, and that we wouldn't go down very well there. We play pogues-type drinking music which goes down well everywhere, and they've not heard us play there yet so I don't know how they pre-empted that, but it just so happened to also be the same night the big boxing match was on a few weeks back (which we read on FB was going to be televised there). Thing is, if venues were honest about this sort of thing, and promised to have you back, you'd accept it. It's all the underhand bullshit I despise.

SRM450's by a long way. We've had two sets of the TH15a and none have failed us yet (touch wood), but as FOH speakers they are incredibly underpowered and will clip constantly. We now run a different set of TH15a's as fold back (primarily as they are very, very light and have a 3-band EQ, and are cheap) but we run v2 SRM450's FOH and these are great. Would have liked to have heard the 'better' original v1 models with the RCF drivers but I also hear these overheated terribly and would often cut-out mid gig. FWIW although they are more expensive, you can now pick up the SRM450's for £299 from Gear4music, which is a bargain! A couple of years ago they were almost £500 a piece!

Good god that's ugly

Girls tend to try and play the drums at our gigs. No idea why.

We have a SWA1501 which we don't use anymore due to upgrade and it ran beautifully with the SRM450's and sounded great, loads of thump. Heavy though.

[quote name='JTUK' timestamp='1401307079' post='2462355'] You ask for a deposit and you know what time the P.A has to go up and they know what time the P.A comes down. If they want an ipod through the P.A it stops when we pack-up unless the guy carrying the P.A has been paid more. It is simple negotiation that you know what you are suppsoed to do and they know their end and that should all be upfront. The balance is paid before hand, food and drink is included and eeven things like power and stages sizes are pre-determined. If you to put all that in the contract, then you should do. [/quote] Sounds very simple! I can't think of a wedding yet we've played where we could have been that specific in advance, to not be let down ultimately. The weddings I've played we've absolutely had to be fluid with regards to how their day works out. How can you not be? We're not about to start setting up behind the best man while he's in full flow because that's the time it says in the contract. If we did we'd look like idiots! And no-one yet has ever ensured the speeches don't run over because the band are waiting to set up! Surely this is why we charge more, no? Because we do have to be prepared to fit into their day, however it turns out?

[quote name='dand666' timestamp='1401306405' post='2462348'] Cameltoe, I have to disagree with your post. Speaking from experience here, a lot of the weddings we play are fantastic. Brilliant events where everyone just wants to have fun, get pissed and dance. All weddings we get there for 6pm ish, unless specified by the client, and if they would like to get us earlier (for setting up purposes) then we charge another £50-100. Yes we won't leave till around 1am, but ho hey. As we are on an agency, we are contracted to food, and we make sure we either get paid in cash on the night, or a bank transfer is already set-up and ready to go in that evening or the morning after, so all that jazz is sorted. Recently we had a sit down dinner with all the guests on our own table! And we also sort out set requirements beforehand, or they just let us play what we think will rock. Yes, you do get requests that you won't like playing, but our job is to entertain and make sure the guests are happy, if that means playing Sex on Fire and Chelsea Dagger, so be it, they're paying over £1000 for you. To be honest, I love them. Great pay, great company and I'm playing music to hot chicks all night. Sweeeet. [/quote] That's fine, I'm talking from my experiences. Most of the weddings I have played in my experience have been bad gigs. Sometimes only because they book a venue that is far too big for the crowd. Sometimes other reasons. Long and short of it is, though, (and in the spirit of the OP's thread) we are not a 'function' band, we are more or less a regular honest gigging band (although not playing your regular rock/ pop covers) and we do it as a hobby, because we want to, not for the money (although it is nice). I took the OP's post in that regard too, and how you justify the price difference for your average gigging band. Hot chicks? Food? Fun, pissed, and dance? Let me know if you need a dep!

I like to think we're a fairly standard pub band in as much as our gigging schedule and what we charge, and when wedding enquiries come in we will charge a bit more. We didn't start off charging more, but with time comes a bit of wisdom- 1) most weddings are terrible, terrible gigs where you wish you hadn't bothered. I hate to go out and just play for the money, but for weddings, that's often the case. 2) you can expect to be told to get there a good few hours earlier than you would for a pub gig, only to stand around until all the formalities have finished, (usually a good 45 minutes+ than you were told they would be) at which point you'll either be told by 'Jesper' the wedding planner, or Bridezilla, that you need to start in 10 minutes. The massive amount of gear piled up outside the marquee that you and I would call a 'PA' seems to have escaped their attention. This is despite agreeing before the wedding that it will take over an hour to set up. 3)Mother in law will despise you, and spend most of the gig either telling you to turn down, or eyeballing you from the side of the stage. 4) despite agreeing with the happy couple you will play 2x 1 hour sets with a small break in between, they will still expect you to start at 8 and finish around midnight come the big day. 5) they may want you to get there in the middle of the day to set up the PA so they can play tunes through it before you start. I actually don't mind doing this, as it cuts down on the possibility of 2) happening. 6) father of the bride will usually be responsible for payment at the end of the night, and he will typically fall into 2 categories- type 1 is the 'music fan' dad who wants to be your friend, talks to you whilst setting up (inevitably slowing this process down) tells you all about his really nice Yamaha guitar, spends a lot of time dancing right in front of you during the gig (on the verge of air guitar- you can almost see him twitching) and running up straight after the gig to pay you and chat about how great you were. These guys are ok, and will usually stay with you (often helping to load gear into the van) until you drive home. They will continue to tell you 'honestly guys, that was fantastic' until you until you leave. Type no.2 is the Scarlet Pimpernell, who you see fleeting glimpses of during the evening but will not approach you or dance. He then pulls a Lord Lucan as soon as you've finished and no one can track him down, delaying your departure quite significantly. We have left weddings empty handed before because of the Scarlett Pimpernell dad, and had to hire Columbo to track down our payment. 6) they will ask you to learn a cover that you hate, and playing it will make you feel like you've sold your soul to the devil. So, yes, we charge a bit more when it comes to weddings. I also feel that a wedding is a one-off, where as a pub is likely to give you repeat bookings for several years if they like you, so even though you charge the pub less, ultimately you may get 4 gigs a year for the next few years from your landlord. It's like a trade price thingy.

I know what you mean about the slabby body. I've never owned a bass from that period so I wouldn't know, but it doesn't look curved enough, as you say, from the eye. Very, very vague description from someone who wants that kind of money.