leroydiamond

The headstock was the first thing that caught mr eye, as I really liked it

Agreed. The branding alone, regardless of the quality, can make or break a product.

Totally get the reservations that are required when watching reviews, yet reviews are often the first port of call that musicians visit, when they start their journey for a new instrument. I found it interesting that Friedland highlighted the tone of the bass acoustically, though this could be viewed as a gimmick to help in boosting sales.

I remember being at a 2 day open air festival some years ago and it struck me that 90% or more of the bass players, were using J or P type basses. Guess for so long as their is demand there will always be supply

Came across a review of a brand I am not familiar with. Modern Vintage. The review is exceptionally detailed and they appear to offer real value at this price point. Cannot find anything regarding availability in the UK or EU.

Thought it might be a sponsorship deal, but google reveals nothing. I have never had a Vintage but can well imagine they are very good. Have played Sire and Squire basses and very impressed. Some serious value out there for not alot of money.

Watched Beth Hart live at the Olympia, Paris on arte.tv last night and noticed that the two electric basses used by Tom Lilly were Vintage (brand). It is a great show and the 3 piece band are really cooking. Hart is an amazing performer and well worth a watch. I was intrigued that Lilly was using Vintage, considering they are cheap as chips and sounded great. No doubt Lilly could opt for Fender or indeed many of the 'boutique' basses out there, but chose Vintage. Indeed the guitarist who used primarily Fender and Gibson throughout the show, played a Vintage tele during the encore. Am I missing something?

Hope so. Death before facebook

Turntable set up can be a pain, but when it is done properly, the results are very satisfying. Like you, I find that the vast majority of my vinyl sounds very good. From the get go, I have always looked after them. A wet record cleaning machine can work wonders on getting the best out of vinyl.

A mate who runs a recording studio often refers to the majority of his customers listening to the finished article on car stereo systems, as this is the best system they have to hand. I would say 99% of people who listen to music are not audiophiles and these notions of brickwalling and so on, are of little interest to them. A couple of beers and an mp3 file or the lossy files available from Spotify, is more than good enough for the vast majority of music lovers. I even find that a nice bottle of Rioja has time and time again, proven to be the best upgrade to my own sytem

I am not all that knowledgable about the tech behind CD/vinyl/streaming. I was all for getting away from vinyl some years ago, as digital is so much less hassle. However as I already mentioned, I was less than impressed with the CD alternatives to many of the vinyl albums I would listen to. I even purchased the much sought after and expensive DCC CD cut of Deep Purples 'Made in Japan' but unfortunately it does not come any where close to my 'porky' vinyl pressing. At least that is what my ears tell me. By the way my CD and Vinyl front end are similarly priced. I am a big fan of CD's but the brickwell mastering that many recordings have been subjected to, has done the medium no favours.

There is room for Vinyl, streaming, and CD in my world. Indeed streaming on Tidal is the way I listen to most of my music. IMO where vinyl comes into its own, is when listening to recordings that were recorded entirely in the analogue domain from the 60's and 70's. To my ears, very few of these recordings have transferred well on to digital IMO. Indeed some of them have been brickwalled when remastered, which renders them unlistenable. In such cases the vinyl will always be my go to. In terms of more recent recordings, CD or streaming is my preference, as the vinyl version tends to be a digital master transfer to vinyl.

That would depend on the quality of the turntable, phono amplifier and CD player you are using. For Vinyl IME you need to be spending up on £1000 on a turntable and phono stage, before replay starts getting decent.

https://www.rte.ie/news/world/2021/0107/1188326-jamiroquai-washington-denial/

I have had A lakland 55-01 and a US Joe Osborne. Both were excellent basses. Some years ago I was in a shop in Dublin where there was a used but immaculate US made Darryl Jones 4 string. Without doubt the nicest bass I ever had in my hands. Weight, balance, finish and the feel of the neck was outstanding. The salesman asked me would I like to plug it in and I refused, knowing that if it sounded as good as it felt in my hands, I would have to take it home. The deal breaker was the fact that I had just taken delivery of an NYC Sadowsky the previous day and could not justify another significant purchase.

Amen to that. Some players can be too good for their own good. So kind of you to share this with rest of us. Happy new year

Versions of the Truth by The Pineapple Thief is terrific. Gavin Harrison on drums..........enough said

Cracking album and sonically brilliant.

In my world there is place for both vinyl and CD. IME albums recorded in the analogue domain, such as classic/prog rock from the 60's and 70's, rarely if ever transfer well onto CD. That is why I still have a turntable, as my vinyl collection is very much taken up with such recordings. Modern recordings are often a digital master pressed onto vinyl, so give me CD every time.

Sorry but not for me.

Their first album is a cracker. Their best by some distance IMO

In my world the PMT comment would get a laugh all day long. I could never take offence. Probably because I am a stinky poo bass player

I was laughing as soon as I saw the letters PMT