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Also have one, bought new circa 1980 - they were some of the first affordable acoustic basses at the time. Still has the original Roto tru bass strings, not a bad sound acoustically if quiet. Fitted a clip on Jazz bass pickup in the soundhole and its rather nice amplified. The neck is huge and solid on mine - that one must have had some drop.

TI flats on my G&L SB1 and Kramer DMZ4001. No shortage of brightness IMHO.

Lightweight cabs - I thoroughly rate my Barefaced Big One. You could build your own Fearful or Bill Fitzmaurice - I am at the moment, very easy to do. Had the big rig Marshall VBA 400 + 7215 very recently, then had the bad back (not connected). Moved it on, and am happier with lighter kit - am not 25 anymore.

Simple mistake, seller has not noticed that decimal place was wrong in start price - then again £99.900 - do we have a 0.0p coin? Nice looking bass, but not at that price, c'est cher

Used Peavey - I used a bass combo mkiii (130W) for 26+ years, small gigs up to university halls (small ish) without p.a. Sold a 300W Peavey bass combo for £150 last year. The guy I sold it to thinks it is the dog's blx and is a happy bunny. Well built, reliable, easy to fix. Downside, 'boxy' sound compared to current rig - barefaced big one and peavey tour 700 head. Big downside - heavy, very heavy, fit castors. edit for spelling - again!

Also waltz, hornpipe and one amazing tune that went through 3/4, 4/4, 5/4, 6/8 changes... keys (GDAE typically) and scales are the secret, A typical dance tune will use two or possibly three tunes with a key change between each. Due to the sheer amount of tunes used (at least in bands I have played in) bands will usually have sheet music which includes chord labels (G, C7 etc). Reading and counting then makes it fairly straightforward combined with scales to link the roots and fifths. Dance music requires rock solid on the beat bass with phrases to 'lift' and 'lead' the dancers through the dance sequences e.g. strip the willow ! do si do and a whole range of other square dance steps. You want to get people 'skipping' or 'walking with a spring in their step' with your bass lines. They are dancing to it not listening to the 'artistry' Enjoy.

What sort of folk? Trad Celeidh music, Scottish, Playford, Folk Rock, Fairports???? It is a broad church. I cut my formative first 8 years bass playing gigging 2/3 nights a week, week in week out in a trad celeidh band. Can give you some pointers in that line if you want.

Is that fun or what. I want it but it would cause instant divorce at present

Can we see the assignment question and the grading criteria (assuming your degree has them, mine did not, but it was 30 years ago this July - oh how much have I forgotten / lost) . With these we may be able to give you some more focussed pointers.

Just listen to (and now with the wonder of modern technology, watch on youtube ) plenty of Deep Purple, Deep Purple in Rock Fireball Machine Head Who Do We Think We Are and the awesome live album Made in Japan Then get playing them, once you are in the 'groove' they are not overly difficult. You will need speed and good pick control. Get a Rick 4001 if feeling flush (but not essential) Once we get to Stormbringer with Glenn Hughes, it becomes a different matter for me. I rate his funk rock playing on stormbringer, still can not get near it yet My early teens spent listening and working on these basslines, a formative influence in no small part - they still have that excitement and power 39 years or so later. Very good for turbo training on the bike, improves cornering speed on car as well. No babe pulling power by playing DP riffs / numbers these days! unless it's the "strange kind of woman" type

My local garage tells me that a large petrol engine luxmobiles (BMW/Jag etc) are fetching the same money as Yaris etc a few years down the line. However £5 to go 20 miles there and back to the shops is a bit steep. As they said though, if you do minimal miles it is serious luxmobile motoring for little money (unless it goes wrong). Musical kit - try it in the context you will use it - there is no alternative (TINA)

[quote]A very high number of 70's Fender basses had misaligned bridges, with G strings almost going over the fret ends![/quote] It may be easily fixed - had the same problem with my 77 precision from new. Wrote to Fender UK and got a setup guide. Slacken strings, slacken neck bolts, tap headstock to get correct string alignement on E & G . Retighten neck bolts, tune and way to go. Sorted mine out prefectly. It is surprising how much lateral movement is available in the neck pocket.

Strange things auditions - have been abysmal at music styles I have played for more years than I care to remember (no comments about being c*** and talentless please, I know that, they just haven't caught me yet). Have played well off the cuff in less than ideal circumstances - started work at 7:30, left work at 6:30, no food, no break all day (stupid job at times - teaching), 7 pm auditioned for 1 1/2 hrs. Self and guitarist were on fire and got the seat(s). The big thing is to leave people with self respect, hope and ways to move on. We all started somewhere.

No shortage of highs with my 5+ year old TI flats. Part of the answer is your speaker setup, Barefaced Big one with 6.5" doing the mid/highs. If anything too revealing of finger tapping, string click from damping/stopping etc. The big plus is virtually zero fretwear, unlike roto 66s on my 58 EB2 when I owned it - extreme fretwear was an understatement. TIs on Kramer and G&L just cut through in the bands I play in. The downside is the purchase price, the upside is the cost per year.

3 + 1 inspired by Musicman? My current project is running along those lines with fretless neck, now has a very small 3+1 headstock. Should help reduce neck dive as well.

First Bass Owned: Kay something plywood, cheap, nasty, other than plywood neck that looked cool 1974 'Go To' Bass: G&L sb1 1985 'Your' Bass: Kramer DMZ 4001 aluminium t bar neck 1979

I keep wondering about stringing one of my basses up B E A D. Just like the power off the E and A strings, so it might be interesting to see if my kit will deliver same on B. Some gigs that use walking bass lines / root + 5th etc would lend themselves to this tuning. Any one done this, any thoughts?

Thanks for a starting point - will get my fretless out, the octaver on my Peavey Tour 700 Perhaps I should just play synth or get a synth bass connection. how do i persuade my singer to get the glasses ? She's also younger than Anastacia, so no fears on wearing the kit.

[url="http://www.youtube.com/watch?v=xf3jRG414cA"]Anastacia[/url] Great bass tone, what effects are being used, anyone got the tab to make it quicker to sort out? Nice glasses and vocal range from the singer. I want to get my singer up to this