Sibob

I think you're taking this a bit too personally ARGH We're simply discussing the pro's and con's of that style bridge! I myself like the freedom of a fully adjustable bridge so that I don't have to go back to a luthier every time I wish to tweak it! And the amount that I'm out playing, and the punishment my basses go through as a result, they need tweaking every now and then! Clearly this customer is happy to have that bridge, and we are happy for him/her! Si

[quote name='ARGH' post='305970' date='Oct 14 2008, 08:14 AM']Of course its in tune...you use your left hand and ears to judge your playing. Isnt the idea of fretless to be alike in attributes of both the upright with the Electric Bass? You dont see cellists,Violinists,Uprights etc asking for individual string saddles upon their instruments? That would be absurd,an adjustable bridge for fretted..yes its needed,but on fretless?? Set it to the 12thfret harmonic to correspond with the fretted note..and the rest is for your ears to do. I thought you would know that.[/quote] Why is it a lined fretless then? Whats the point in having visual markers for intonation when that intonation cannot be set properly!? I would understand the thinking behind it if it was an unmarked board! Not having a go, just saying Anyway, interesting shape, quality workmanship! Si

I've just taken delivery of Mayer's 'Where The Light Is' DVD, for those who don't know it is a live show, complete with a 5 song acoustic 'support' set from him, a Trio set and a full band set. The acoustic and band sets are fantastic, but the Trio stuff is amazing, never wanted to pick up my Precision more! Pino is a star and really plays with restraint and taste (when has he not!!) Anyway, thought I'd vaguely recommend it to people if they haven't heard of it before! There are some interview and backstage segments where Mayer talks a little bit of rubbish here and there, but there's no denying the man writes some pretty awesome music! Si

Some pubs have zero business sense though! A pub in west London that my covers band used to play at a lot, has just started cutting back on their band nights, canceling bookings they made a year ago. Now bearing in mind this pub, and it is just a pub, charges £5 a head to go in on a Friday and Saturday night, so now people are paying a fiver to go in....with no band. Now forgive me if this seems obvious, but why not keep the band, wipe the door charge so that people think "oh i haven't got much money tonight, i'll go to that free entrance bar with the cool bands and spend what I have on drinks". It's quite often empty now, with less music....they still charge a fiver! Si

I hope there are some promoters that will put on some other types of music (read: heavier) on there! Because the Barfly is awful! Si

Argh, I was gonna wait until I had pictures of it to post.....but I couldn't contain myself! GUESS WHAT I'M PICKING UP TONIGHT!!! Si

Yus welcome back indeed! Si

Ah I think one of the guys in A Silent Film works in Gerrards Cross with the guitarist in my band (First Signs Of Frost). Ummm, four dates isn't a lot, you shouldn't need a loada gear. Spare strings.....ummmm....clean pants!? Si

Doesn't look like Fender do that Squier in a lefty, nor a jazz bass in that colour, tis just the '60's vibe Precision'. Best bet is Custom Shop (as expensive as a late 60's Jazz, around £2000), or a custom build from a Luthier such as Sei or Shuker in the UK. Si

I think the issues with mid 70's to early 80's is simply that there were a lot more duffs that got through the QC net than previously. No-one is arguing that there are some great examples of basses from these eras, they're just harder to come by than pre '74 and post '85. I agree that the basses are essentially wood and bolts, BUT from early '74 until the resale to the management in '85 they started to pick some pretty questionable wood. I've tried some mid 70's basses that I could barely pick up, let alone strap on for 2 hours....crazy heavy! 2 weeks ago I purchased WoT's 1973 Jazz from Hellrazor (Ed- who Micheal sold it to), and it's sublime, still finding out it's subtleties, but getting there after 5 gigs Si

[quote name='Leeroy' post='295793' date='Sep 30 2008, 07:35 PM']Yea, seems a crazy price. By refinish i presume you mean the paintwork etc...[/quote] Yes, the bass has been repainted, and the damage you see on it has been simulated as part of that process. Refinishing is a common practice, although knocks value off of 'vintage' basses such as this. Relic'ing is the practice of making something look aged and is becoming more and more common after Fender introduced it as an option on their 'Time Machine' series. The refinish here looks good enough but the Relic job is pretty poor. Si

Hey leeroy, why not go on over to the Introduction part of this forum and tell us a bit about yourself I'd say that this bass is around 2,400 Euros (£1900) too expensive. The year suggests that it's going to be heavy as hell, I assume it's all original (apart from the finish) as they haven't stated otherwise, although that is something to be very cautious of. The fact that it's a refinish usually knocks about half from the 'fully original' price, but having said that i don't know what affect on the price the fact that it's left handed would have, could go either way. Fully original I'd say this is worth around 2,000 Euros (£1600), but with it's (badly relic'ed) refinish, I wouldn't wanna pay more than around 1,000 Euros (£800). All these prices are subjective though Si

You coulda ironed the back-drop Si

[quote name='skankdelvar' post='294572' date='Sep 29 2008, 02:57 PM']Ditto stamps. All markets go up and down, which is why the phrase 'An end to boom and bust' is total b****cks. Who'd have thought Musicman prices would have tanked? [b]Or that unprovenanced 50's black-guard Telecasters would go up to £50k[/b]? In answer to the OP, who knows? Depending on condition £500-£2000. Not as much as a 60's though...[/quote] But you've just kinda made the point yourself! We've been through recessions before and those guitars still gained value! As and when the 50's and 60's stuff becomes priced out of the market (only available to rich collectors etc), the early 70's gear, pre '74, will start making big jumps in prices!! Si

Check out some Justin Meldal-Johnsen with Beck, Ima Robot & Macy Gray Si

Not that I'm dismissing the validity of the thread, but I'm kinda in agreement with Iwtait. Surely a custom bass is usually as a result of someone who has identified a need for a feature, or combination thereof, on an instrument that they can't obtain from a stock instrument, and so solve the problem with a custom build! I think what I'm trying to say is that, in my opinion, saying you're having a custom bass, then deciding what problems you wanna solve with it could be the wrong way to go about it as there really are soooo many options available that it could become confused! I'd say try some fanned frets before you go for the option, The Gallery stock Dingwall so that should be your first port of call! I'm a big fan of birdseye maple fingerboards....so thats my two pence on the spec Regarding electronics, would passive electronics be able to do the low F# justice? Si

The way I understand it is that the vintage guitar market is always appreciating along with other markets, when other markets are not doing so well, or falling into recession etc, the vintage market just plateaus and bubbles along until it starts to appreciate again! There's a reason why many people are putting their faith into vintage instruments as part of their retirement plans! Si

Aww man, wish I could have been there! Next one !! Si

Sounds like this bass could quite easily become a mish-mash of ideas! I hope not, there's beauty in simplicity Good luck Si

I should be at the London gig on Monday, all things being well! Si