doctorbass

Ramones - Rockaway Beach........ 1, 2, 3, 4

Initially it was Dee Dee Ramone. Then I got into blues and it was Keith Ferguson from the Fabulous Thunderbirds. His playing still inspires me.

Doesn't look a bad bass, but way overpriced.

Left mine totally stock and love it. i feel no need to change the PU, mine sounds a lot like the originals. Adjusting the PU hieght on these is a bit hit and miss with regards to getting it just right - have a play around, but not too near the strings. When yo get these just right they really thump! Your flat E might be the string itself? I use Ernie Ball 110 flats on mine - no dramas.

[quote name='Clarky' post='704441' date='Jan 7 2010, 05:03 PM']Sorry, being a bit slow here ... RW? Rosewood?[/quote] Sorry mate, was looking at two threds at the same time!! What was it about the Nash that you didnt you get on with?? RW = Road Worn (another thread!!)

[quote name='Marvin' post='704966' date='Jan 7 2010, 11:12 PM']You gotta start somewhere. And it depends what you do with the blues. I always end up playing a shuffle beat which p1sses the drummer I jam with off because he can't do shuffle very well - which I've always thought was odd.[/quote] I play in blues bands and go to a lot of blues jams and Im amazed that most drummers dont have a good blues shuffle, or if they do they only have the one. As a blues bass player im expected to have different shuffles and turnarounds coming out of my ears, but many drummers dont - this is where blues gets a lot of bad press i think. I think blues is a good style to have knowledge of as it crops ups in so many different genres and it was the music (along with country) that spawned rock n roll.

Clarky - what didnt you like about the RW?

If it was Oly white with the matching headstock I'd be in there....

I love these - shame about the mod though....

Sad to think that it will be snapped up, tucked away and never gigged. I'd play the hell out of that.....

700RB II here. I use it as a fairly light back-up amp for my Ampeg V4 - and it makes a really job of it when needed! I used it a few nights back through my Barefaced Vintage - WOW!

My V4BH (AV) went from Sovtek 5881s to a quad of Harma 6L6GCs. The difference is fantastic (as is the addition of a Barefaced Vintage!) I took the advice that these amps like a 6L6GC specifically, and without costly testing of different types, I'd be inclined to go along with that advice.

American Traditional Series were late 90's - the serial number should be on the front of the headstock? I have one of these and they are excellent. Do a search, they have been mentioned a few times.

Looks like typical 70s Fender paint flaking to me. The early paint/poly finishes tend to come off like that ( the ploy on the natural finishes doesnt)- not very pretty, but could play and sound good......

[quote name='geoffbyrne' post='625580' date='Oct 13 2009, 09:48 PM']No-one's commented on the obviously askew nature of the actual serial number........................ G.[/quote] Lots of late 70s numbers are like that. Most likely 81-83, with that P/U, board, no covers or holes for them. The '79 (S9) serial number refers to the neck only - pots & P/U is best ref for dates, but lots of 'parts' used by Fender in this era - a most unlikely scam.

Norman Watt Roy at the top of my list followed closely by Andy Fraser. Mark Bedford is very underrated I think. What about Noel Redding? Folkestone boy!

Excellent amp - wish i still had mine. They're loud as hell!

Flats on both my Jazz and Precisions here - 110 guage on the P bass's. I love that low end thud for blues