Cosmo Valdemar

I love the body shape, never been keen on the Shuker headstock though.

Sold a bass to Victor - despite being overseas, the whole thing ran without a hitch. I would cheerfully buy or sell with Victor again, a trustworthy BCer indeed! Excellent comms too. Enjoy the bass mate!

A friend of mine used one of these on bass for years, always sounded good to me.

Well done you lucky sod!

[quote name='mickster' timestamp='1370952401' post='2107795'] I've been checking out the Limelight stuff too, and agree they look nice, esp'y the less heavily reliced ones...but re the Slab - what is [i]that sound[/i]...? Are we simply talking Entwistle's sound, or do they sound different to other P's of that era? I've never heard one - either original or a repro - and am curious. [/quote] Hmmm, bit of a hot potato this. Some swear the slabs had a slightly different tone to the usual Precision - a bit growlier. Some think they didn;t sound different at all. I've never played one so have to rely on old recordings but I'm definitely one who believes they have that little something 'extra'. Quotes from John Entwistle, Slab lover: “There is something different about the sound of these Precisions…I’ve tracked it down to the pickups and tone circuit — the sound is much raunchier and gutsy and has a hint of distortion when the volume is flat out.” [indent] “The slab Precisions were like white, squared-off Telecasters, with a split pickup, a maple neck, black scratch plate and what looked like blue veins coming through the white paintwork. I don’t know what they used on them but those basses had a sound of their own, really raunchy with more of a growl than a regular Precision.”[/indent] Again, what causes this different sound is a mystery - JE traced it to the pickups and circuitry, whereas others put it down to the extra mass of the body, or even the neck. It's an endearing mystery.

Anyone got the album yet?

[quote name='Jack' timestamp='1370636356' post='2103908'] I once mentioned that one of his basses was perfect except too heavily reliced. To my surprise I received an email expressing his thanks that I liked his work and it included an offer to build me a very similar bass reliced (or not) to my taste for a VERY good price. Top man, very good basses and to this day I'm thinking about taking him up on his offer. The point is, he'll build you a slab without the relic, or in with less relic, or in bubblegum pink cadillac paint if that's what you want. [/quote] Agreed. I've dealt with him many times before and have nothing but praise for him. I [i]nearly[/i] once bought one of the other Limelight relics but decided against it as I couldn't get down there to play one first and I had no idea of what I would be getting. Just a bit too risky at that price to buy without seeing or playing first. Good to know a 'clean' example can be built too. But the real question is, does it nail 'that' sound?

You called?! Are you sitting down? I don't like it. The relic job is extreme to the point of comical - I mean, look at the state of the machine head plates - is that mould?! The back of the neck looks nasty too. If it nails the sound, I would request a clean one to be built for me. Presumably, without the 'ageing', at a cheaper price. edit: two of the other basses for sale on that website used to be mine (and I want one of them back!)- can you guess which ones?

Another 'Stormwatch' fan here! Re: the mystery 'trees' album, could it have been 'Roots to Branches'? If so that is one of their later albums and isn't too great I must admit. If however it was 'Songs From The Wood' then that there is one of the finest albums ever recorded. Ooh, and I love the 'Nothing Is Easy' set, live at the Isle of Wight Festival 1970 (I think). Heavy as hell, raging fuzzed-up prog at it's finest. You can just sense how deafening the show must have been - Cornick's Hiwatts are distoted to hell and screaming for mercy.

[quote name='Billy Apple' timestamp='1370164569' post='2097043'] The fact that London's supposed premier bass guitar shop could pass this off as a Rickenbacker reinforces my poor already opinion of the sales department at the Bass Gallery. [/quote]

I'm 6ft 4 and I've given up apologising. I'm sorry but that's just the way it is.

I say jump ship. But I've always placed enjoyment at the top of the list of band priorities - I don't care how successful we are, if it's a drag, it ain't worth it.* On the bright side, if you do leave, think of the mess it will leave them in *Unless of course the band was my living, in which case I would just get on with it.

[quote name='Turk' timestamp='1369853141' post='2093595'] Top tip: Never buy a bass you've only tried out whilst seated...and never, ever even consider a straight swap for an 80's BB3000...with JD electrickery by Mr Diggins himself. ('Twas a long search to correct that one !) [/quote] Ouch.

[quote name='basshead56' timestamp='1369869478' post='2093882'] I own both Gibson Thunderbird (Studio models- IV and V) and Epi TBird (a limited ed. White) I found them to be entirely different beasts. I started with the Gibson 5 string because I wanted a 5er and owned only Fenders at the time. The Thunderbird was always on the GAS list, so made sense to kill two 'birds' with one stone-a Studio V. Got the Studio V and LOVED IT. Then ended up with the IV version in a trade later on-slimmest Gibson neck ever and gorgeous body lines-trimmer, faster-going places!!!. I picked up the white Epi for less than 100quid in another moment of madness. I found the Gibson's to be far superior in build quality. The necks are nicer and the the pickups have 'that thunderbird sound' whereas the Epi feels lightweight but still has serious neck dive and the pickups sounded gutless at times (especially on open E) - looks badass though!!! Disappointed, considering that every other Epi I've ever owned was great (maybe mine is more of a quality control failure?)! I tried the Pro IV in a store a last year and thought it sounded cool, but a tad to bright for my tastes-it's a T'bird - it's meant to make your bones rattle! Have you considered a second-hand Gibson Studio TBird? - I would get another one in a heartbeat! Or the shortscale one they did... [/quote] The standard Epiphone Thunderbird with the bolt-on neck is very different to the Gibson, but the new-ish Epiphone Classic IV is almost identical.

WHAT A WASTE OF TIM

I think the new Epiphone Thunderbird Classic is excellent value for money - I can see little advantage in spending over three times as much for the 'genuine' Gibson. They are very, very close. However, neither sound like true 'birds to me - the current pickups are very different to the originals. Replace the pickups with some Thunderbuckers and you're in business - something I intend to do to that white Epi when I finally get round to buying it!

[quote name='Spike Vincent' timestamp='1369395554' post='2088694'] I wouldn't dream of using someone else's kit without asking first.It's just wrong. [/quote] This. Most of the gigs my old band played used gear shares and I don't have a problem with that, but even if I knew it was already agreed for me to use someone else's bass amp I would ALWAYS introduce myself first, double-check everything was ok to use and offer to buy them a drink. I can remember countless gigs where another bass player would simply help themselves to my amp. I never managed to show the same level of restraint demonstrated by the OP though... People using my amp as a resting place for bottles and glasses, well that has seen me get up on stage mid set to 'sort them out'...

[quote name='RhysP' timestamp='1369776397' post='2092717'] Yes, Carnies & Headlong Flight were pretty fantastic. They played Manhattan Project at the O2 did they? The non-setlist surprise song at the NEC was The Pass. [/quote] It seems they are using two setlists on this tour, mostly identical but for a few minor changes. Instead of The Pass, we got Bravado, which suited me fine. I think we were also treated to The Body Electric instead of Dreamline.

I was at the O2 show - 8th row floor seats. Admittedly murky sound at the beginning but that seems to be part and parcel of live music these days. Geddy's tone was there but a little hard to decipher when everyone was playing but when soloing or in the quieter moments it sounded great. A faultless performance, incredibly enjoyable and a lesson in how it's really done. Several goosebump-raising moments, particularly Carnies and Headlong Flight from the CA set, and an totally unexpected Manhattan Project.

Inspired by a magazine that fell out of the Sunday papers, I once felt compelled to compose a rock opera based on the stages and developments of a woman's breasts. I vivdly recall the magazine being arranged in sections that suited the genre perfectly, e.g., "Chapter 6 - The Sagging Breasts of Old Age". Alas I never got round to it, and the magazine, long since lost. Good luck with your endeavours.

The trailer looks hilarious. I'm not a huge fan of Cream but I can't resist a good music doc, particularly one about such a character. "I'm gonna put you in f*****' 'ospital!"

[quote name='sprocketflup' timestamp='1369172833' post='2085940'] Mick Karn did play some stuff fro Kate Bush yes. Not sure about Gilmour playing fretless tho. My personal fave bass player of Kates is John Giblin, his fretless work is just sublime, a joy to (try and) play. [/quote] i think Eberhard Weber played on Hounds of Love as well... And Youth.

I can't afford it but luckily my Dad got us tickets as a surprise... O2 Arena, Friday - floor seats too!