Misdee

In my experience you've got just as much chance finding a nice EBMM Stingray as vintage one. It just depends what your personal preferences and priorities are. I've played loads of pre-EBMM Stingrays, and I used to have one back in the late '80's/ early '90's. I used to play the EBMM versions in shops at that time and to me they were better in every way to my vintage Stingray, which was essentially still brand new when I bought it from a shop in L.A. I would've cheerfully done a swap. Mine had a slight scratch in the lacquer on the back from a zip or belt buckle but was otherwise mint. It was light, too. I didn't realise at the time how rare that was for a Stingray. I've got a Stingray Special nowadays and it's a fabulous bass. Suits my needs for what I want from a 'Ray, and I prefer the tone of the new pickup and preamp to the vintage versions. Still sounds like a Stingray but a with a slight bit more richness and warmth in the mids even with the EQ flat. Improved playability too. I love it.

The volatility of the dollar exchange rate might be a factor in some retailers pricing. They might be erring on the side of caution in predicting future rates. There's two parts to the equation when it comes to these basses. One part is marketing and the other part is the reality of what you are actually getting for your money. The relic basses are part of the marketing. The production models are the substantive bit. The Pino Palladino association is very much part of the marketing, but it's also what has defined the actual bass you are being offered. Essentially it's a nice '70's style two band Stingray with considerable attention to detail but also benefitting from modern improvements in manufacturing. To me it's a lot more appealing than the Retro Stingray. I can't see what's to get upset about a Pino Signature as an option, especially when lately there has been a slew of signature models for bassists whose main claim to fame is having a high profile on YouTube/social media ect. They are not significant recording artists either as sidemen/women or band members. In contrast, if PIno doesn't warrant a signature bass who does?

I've been having a good hard look at these basses since last night trying to make my mind up about them. At first I thought, mmm, not for me. However, the more I think about it the standard one at three and a half grand looks a pretty good proposition in the current market. If a Stingray Special is retailing at 3K then a specialised 'Ray for £500 more is not an exorbitant premium. I'm actually a bit surprised they aren't more expensive. £3500 is an awful lot of money even nowadays, but these are luxury items made to a high standard. What price do people realistically expect EBMM to charge? If you can't afford it no one is going to force you to buy one, except yourself of course. I love Pino Palladino as a musician, but I wouldn't buy a bass just because he was associated with it. Regardless of the Pino connection,these new basses will be made to a very high standard, will play better and be more reliable than a genuine vintage example and would do very nicely for someone looking for a vintage-style Stingray. Providing you like sunburst with a rosewood board. Without wishing to committ heresy, I actually prefer the sound (and weight) of a Stingray Special to any vintage version, and when it comes to Music Man basses I enjoy the Bongo most of all. But if I was looking for an old-syle 'Ray to put flats on the fretted PIno version would be ideal. That said, it would be very interesting to do a comparison of a fretted EBMM PIno and a Sire Z3. In terms of vintage Stingray tone I bet the Sire in all it's cheap and cheerful glory would run the MM very close. It's great that such good budget alternatives exist nowadays, just like it's entirely beneficial the new Pino signature bass is now an available option.

If you consider the actual history (rather than the press release version) of what Sabbath has been as an institution and, indeed, as a business then it's a bit harder to get sentimental about them calling it a day. There's been an awful lot of water under that bridge and the four original members are far more business associates than friends. I'm really glad it went so well, though. It could easily have been an ignominious end for one of Britain's truly great bands. If you asked me what was the most influential British band of all time I would say the Beatles. If you asked me who was the second most influential I would say Black Sabbath. Look at the worldwide popularity of heavy metal/heavy rock music year after year, decade after decade, generation after generation. Sabbath made that mould, and no one has ever bettered them.

Marcus's tone has definitely got a little more "scooped" as years have gone by. I remember buying his first solo album when it came out in about 1983/4 and being bitterly disappointed that there wasn't more bass guitar on it. It was mainly synth bass, I seem to remember.

I have a strong suspicion that throne was actually a commode. I'm glad it went so well. I've only seen bits on YouTube. What's for certain is that, even in the winter of their lives, Sabbath can still play, it sounds uniquely special and only they can work the magic that was Black Sabbath. Geezer Butler and Bill Ward, what a combination! I certainly wouldn't have turned out to see it, but if everyone enjoyed themselves then good for them. It's the end of an era that ended a long time ago.

This album along with We Want Miles was my introduction to Marcus Miller. Still his best era, in my opinion.

To me the most extraordinary thing about all this is how Black Sabbath have become part of the mainstream. I literally grew up listening to Sabbath. I remember when I was a child my friends older brothers having Black Sabbath albums and me being fascinated by the artwork, even if I couldn't really understand the music at such a young age. By the time Never Say Die came out I was into it, though. Sabbath were my favourite band. Back in those day, Sabbath were an enigma. You hardly ever saw them on television or heard them on the radio. You certainly didn't know much about the individual personalities or their lives. They had a mystique to them. Nowadays they are celebrated as a national institution. They played at the Queen's Diamond Jubilee. They appear on breakfast TV. We all know what Ozzy's kitchen looks like. They've become another media-led commodity. It's all a bit weird to me, and something I never dreamt I would see in my lifetime. The real Black Sabbath disappeared into history in a puff of white powder many years ago. They belong in another era, when they were untamed and a bit dangerous. What you are seeing today is a pantomime based on a true story, performed by geriatrics.

Who decides what constitutes "high risk"? To me, Coldplay are a high risk band. There's a high risk they will bore me to death.

Might as well give the broadcast rights to GB News. We could have three full days of self-righteous indignation and moral outrage. Jeremy Kyle could go round telling festival goers to get a job and sort their life out, stop spending money on drugs, tattoos, smashed avocados and Palestinian flags and pay proper child support ect.

If your asking seriously I'd say if you can't easily afford it, don't buy it. If you're in a long-term partnership you shouldn't want to disregard or undermine the other person. Where's the joy in getting a new bass when your loved one is left sucking lemons? If you are going to get a new bass despite your other half being furious at the prospect then at least get her something too as a present . Maybe cleaning equipment, some deodorant or a weight loss DVD. Always goes down well.

If only it wasn't purple. Otherwise it looks to be a very versatile and useful bass. Sounds great on the demos. Sods law that Frank Bello is the only rocker out there who wouldn't choose black.

Everyone, especially the BBC, keeps going on about how"emotional" Lewis Capaldi's set was. Of course he was emotional! He'd just had his kebab wrestled away, been dragged out of the catering tent and forced to perform.

I'm boycotting the rest of Glasto now. For political reasons. That I won't be going into here. Countryfile is on BBC1 soon. Calm me right down, hopefully.

Rod seems to have little self-awareness or sense of irony. I suppose at this stage in his life that must be a blessing.