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leftybassman392

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About leftybassman392

  • Birthday 16/05/1953

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  1. Crikey! My last recollection of him was of this tiny , fresh-faced young bloke. We’re exactly the same age to within a couple of months, but suddenly I feel very old. Still as down-to-earth and easy going as I remember him though. Lovely bloke.
  2. Horace was never part of Fun Boy Three. At the risk of name dropping, I used to know him slightly back in the day before they hit the big time (my next door neighbour went to school with him). Once the band took off we lost touch, and tbh I doubt he’d even recognise me these days.
  3. When you do it for a living you have two advantages: 1. “It’s what I do for a living.” Covers most eventualities if you need it to (not that I ever have - see below). It helps that I always had a mantra of each instrument earning its keep, with no freeloaders in the collection. With one or two exceptions I stuck to it too. If I can sell it for a profit when the time comes then so much the better. 2. You get to (at least partially) offset the cost as a business expense over a period of years. It also helps if you have a supportive partner who likes what you do for a living and enjoys hearing you play. I’ve been very lucky over the years and honestly can’t remember the last time I had to sneak any gear into the house. I bought a new acoustic guitar around a year ago, and Mrs. LBM loves it even though I don’t play for a living any more.
  4. I’d suggest you shop around a bit. Our current policy covers all my instruments (9 in all - some of them pretty valuable) for not much more than that. I’m not going to do the work for you, but there’s plenty of comparison sites available.
  5. Dare I say, this looks remarkably similar to a Jazz I upgraded in identical fashion before selling it on some years ago. Apart from the dings of course. Could it be?
  6. I suspect our posts crossed in the, er, post; but I won't tell anybody if you don't.
  7. All of the above in defence of the OP is fine and good I have no doubt, but having checked said OP again I have confirmed that both of the situations described were in fact auditions. Unless something has changed since I stopped playing in public, the purpose of an audition is: 1. To enable the auditioners to audition the auditionee, and 2. From a slightly different dynamic, to enable the auditionee to audition the auditioners. If either party is sufficiently unhappy with the way the encounter has developed, the solution really is childishly simple. In particular, if the auditionee doesn't like the sound the auditioners are making then all he need do is thank the auditioners for their time and walk away. Opinions on this one clearly differ somewhat, but i would respectfully suggest that concluding an audition by telling the band all the things they're doing wrong is not a good way to go if you would like a future with them - which come to think of it kind of begs the question as to why anyone would bother doing so. At this stage in the process, being right doesn't really come into it.
  8. This. Turning it round for a moment, if you were in a band that had been playing the same songs in the same way for some time and some new guy with (no offence intended) no obvious creds beyond being able to play rocked up and started criticising what you were doing, how would you feel? They may indeed have it wrong, but as has been said already there's ways of approaching these things. Or you could simply decide it isn't for you and look elsewhere. TL;DR: Hard to be sure from the info you've provided, but yes it is possible that you are coming over as opinionated.
  9. Slightly off-piste from the OP, but just to back up the point about history and legacy that I made earlier in the thread, Hank Marvin (see above) is quoted by many of the world's great guitarists as a huge formative influence; but even he had somebody to look up to:
  10. Unless I've missed something you're not required to like him. That wasn't the question.
  11. Crikey! Is it that time of year already? Well blow me down if it isn't another '[insert bass legend's name here] is crap/meh/overrated' thread. I remember once reading on this very forum (well not 'this' very forum of course, 'cos it moved house a while ago; but you know what I mean) as someone seriously claimed to have seen The Beatles as 'just another '60s Pop band' or some such (conveniently forgetting that The Beatles were the reason '60s Pop bands sounded the way they did). Seriously, two words spring to mind here as needing further study in some quarters: 1. History 2. Legacy
  12. Another shout for K&M. Had them in the bands and in the studio. Can't speak for the Studiospares clones but the K&M's are the real deal. Well worth the extra as you'll probably never need to replace them. Full range of spares available too.
  13. Re. the OP track: I get the Alanis references (circa Supposed Former Infatuation Junkie sounds about right), and the Soundgarden references. Not so sure I agree but I can see where people are coming from. Nice song well played (and she has a perfectly good singing voice), but as I said the last time a Tal Wilkenfeld thread came up a couple of months ago, it's not doing much for me. She's Tal Wilkenfeld so success at some level is pretty much assured (and I wish her well with it), but not for me.
  14. If you say so, but there are one or two comments dotted around that seem a little at odds with that conclusion. As I said already though (twice by my count), everybody's free to waste their money as they see fit and that's fine by me.
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