Grassie

I'll have a look, thanks for the advice.

Hi all, Bought a Mexican Stratocaster (the Sambora signature model) second hand a couple of weeks ago but it really needs setting up and I haven't got a truss rod tool to do the job. I have allen keys but I can't get them in the top of the truss rod properly so I want to buy a proper fender tool for the job, but I don't know what size to get. I assumed that they would all be the same size for strats but apparently they vary between models. Anyone have an idea of what one I need before I go and buy the wrong one? Cheerz all!

5 live or talksport, music is the last thing I want to listen to after 3 hours of playing.

[quote name='JimBobTTD' timestamp='1428232088' post='2739320'] A Fodera bass [i]worth[/i] £11k? Sounds fine by me. [/quote] How much value will it lose once you drive it off the forecourt though...?

[quote name='Chiliwailer' timestamp='1428230812' post='2739290'] I can't see any reason why Fodera shouldnt exploit that if they want to, but I agree with the OP whereby how can that huge amount be justified against other basses, even Fodera's own, that are around £6k etc. I'm sure they can 'explain' where that extra £5k goes and if that makes someone want to buy it then I'm happy for them. [/quote] Yes, this. Even if I had the money I'm not sure if I would spend that much on a bass even if I could justify it by playing as a professional every night.

I don't have a problem with it as I'm not in the market for one of their basses. It's an observation more than anything. Not looking for an argument...

I don't usually read the reviews in BGM as I find that there's nowhere near enough info in one article to help me decide on what gear I should buy, but this month they have reviewed Fodera's new Monarch 4 string which comes in at a staggering £11,000, so I read the article and have been left none the wiser as to how a bass guitar can be given such a high price tag. This isn't a dig at BGM's reviewers, it's more of a criticism of Fodera's pricing. I understand that they are one of the world's finest instrument builders, that their basses are played by some of the world's finest bassists. I also understand the craftsmanship and time involved in making one of these basses. Combining all these factors still does not explain an eleven grand price tag. Not to me anyway...

Great review, but you really are not helping my jazz GAS at all... 😁

Had to learn "Parklife" recently, not too taxing, quite boring on it's own in fact. But when we all play it the punters usually go nuts for it. I like Alex's playing, the perfect antidote to Graham Coxon's punk/hardcore leanings. Graham once said it was his job to "f**k up Alex's funk" but they work well together. Blur have just been announced for the Isle of Wight festival so I'll get to experience them live for the first time. Looking forward to it. 😁

We still don't know how much he flogged it for. 😶

I've just flogged the kids and the car and I'm off up town tomorrow to buy meself a 4003 and a Ric coffee mug. Deal with it Bronner.

I agree with the idea that different people want different things from a magazine - I have no interest in techniques or lessons, nor am I actually interested in gear reviews. The last few bits of kit I've bought I've done so through loads of web research, youtube vids and online reviews. I find one fairly generic essay by one person does not give me all the info I need. I would rather have more in-depth interviews with players and not these pathetic copy and paste, expanded "bassically speaking" pieces currently being passed off as interviews. It's like the players in question are given a questionnaire to fill in. Rubbish.

I put a Tonerider bridge J on my P bass (which also has a Tonerider P pickup) they are excellent. 😊

This issue is better than last months foe sure (apart from that editorial nonsense). Free CD too from Albert Rigoni, the Nathan East interview is good, much nicer thanks. This probably means next months will be all about the LBGS and we'll be back to a shocker...

They don't have a secret guitarist. That engineer is winding you up. I think they're excellent - they've done what most of us wish we could do, which is make the bass guitar the focal point of a major rock band. Good luck to them, looking forward to the Wembley show with the Foo Fighters.

"Love" by Aztec Camera. It certainly sounds like it was made in 1987, but Roddy Frame recruited some of New York's finest to play on it - Dave Weckl, Will Lee, Marcus Miller... "Working In A Goldmine" is my fav tune on it.

This month's issue has just arrived and it's possibly the worst one yet. The annual LBGS "preview" issue, with 7 pages of stuff we ALREADY KNOW, like "profiles" of players appearing this year, and (snorrrre.....) pages of manufacturers profiles too. This is stuff BGM have been banging on about since they announced the first guest months ago, a complete waste of paper. They have included more interviews but these are just expanded versions of the dismal "Bassically Speaking" section (which in itself now runs to 5 pages) and it's all THE SAME; "I don't/do slap because...", "I don't/do play 5/6/7/8/10/12 strings because..." GAAAGGGGHHHHH!!! Oh, and here's a handy hint for BGM's gear review photographers - when you take a picture of a guitar can we have an image where we can actually see what it looks like (preferably from the top) instead of pointing your camera down the bass from the bridge end (see this month's Jackson Dave Ellefson Kelly Bird review...) Time for a new format guys, seriously. It's really dreadful this month.