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I couldn’t resist. Got asked if I wanted to buy it, and almost said no, since I already have six Vantage VP-710B's. Then I saw that it was in better shape than any of my previous... so say hallo to "lucky number seven"!

Paul Simon's Graceland. I love it. The quality of the recording, the depth of the choir vocals. Amazing.

Still listen to this all the way through on a regular basis

Stolen from the Facebook hence the dodgy formatting: HOW TO REQUEST A SONG FROM THE BAND When requesting a song from the band, just say “Play my song.” We have chips implanted in our heads with an unlimited database of the favorite tunes of every patron who ever walked into a bar and all songs ever recorded so feel free to be vague, we love the challenge. If we say we really don’t remember that tune you want, we’re only kidding. Bands do know every song ever recorded, so keep humming. Hum harder if need be… it helps jog the memory, or just repeat your request over and over again. If a band tells you they do not know a song you want to hear, they either forgot they know the tune or they are just putting you on. Try singing a few words for the band, any words will do. It also helps to scream your request from across the room several times per set followed by the phrases, “AW, COME ON!” and “YOU SUCK!” Exaggerated hand gestures expressing disapproval from the dance floor are a big help as well, such as the thumbs down or your middle finger up. Put- downs are the best way to jog a band’s memory. This instantly promotes you to the status of “Personal Friend of the Band.” You can bet your request will be the next song we play. Entertainers are notorious fakers and jokesters and never really prepared for their shows. We simply walk on stage with no prior thought to what we will do once we arrive. We don’t actually make set lists or rehearse songs, we mostly just wait for you to yell something out, then fake it. An entertainer’s job is easy, even a monkey could do it, so don’t let them off the hook easily. Your request is all that matters. Once you’ve figured out what genre of music the band plays, please make your requests from a totally different genre, the more exaggerated the better. If it’s a blues band playing, yell for some Metallica, Black Sabbath or Motley Crue. If it’s a death-speed metal band be sure to request Brown Eyed Girl or some Grateful Dead. We musicians constantly need to broaden our horizons and it’s your job to see that it happens… immediately. TALKING WITH THE BAND The best time to discuss anything with the band in any meaningful way is at the middle of a song when all band members are singing at the same time. Our hearing is so advanced that we can pick out your tiny voice from the megawatt wall of sound blasting all around us. And we can converse with you in sign language while singing the song, so don’t worry that we’re in the middle of the chorus. Musicians are expert lip-readers too. If a musician does not reply to your question or comment during a tune, it’s because they didn’t get a good look at your mouth in order to read your lips. Simply continue to scream out your request and be sure to over emphasize the words with your lips. This helps immensely. Don’t be fooled. Singers have the innate ability to answer questions and sing at the same time. If the singer doesn’t answer your questions immediately, regardless of how stupid the question may seem, it’s because they are purposely ignoring you. If this happens, immediately cop an attitude. We love this. IMPORTANT TIP When an entertainer leans over to hear you better, grab his or her head in both hands and yell directly into their ear, while holding their head securely so they can’t pull away. This will be taken as an invitation to a friendly game of tug of war between their head and your hands. Don’t give up, hang on until the singer or guitar player submits. Drummers are often unavailable for this fun game since they usually sit at the back, protected by their drum kits. Keyboard players are protected by their instrument and only play the game when tricked into coming out from behind their instruments. Though difficult to get them to play, it’s not impossible, so keep trying. They’re especially vulnerable during the break between songs. HELPING THE BAND If you inform the band that you are a singer, the band will appreciate your help with the next few tunes, or however long you can remain standing on stage. If you’re too drunk to stand unassisted, simply lean on one of the band members or the most expensive piece of equipment you see. Just pretend you’re in a karaoke bar. Simply feel free to walk up on stage and join in the fun. By the way, the drunker you are, the better you sound, and the louder you should sing. If by chance you fall off the stage, be sure to crawl back up and attempt to sing harmony. Keep in mind that nothing assists the band more than outrageous dancing, fifth and sixth part harmonies or a tambourine played on one and three and out of tempo. Try the cowbell, they love the challenge. The band always needs the help and will take this as a compliment. Finally, the microphone and PA system are merely props, they don’t really amplify your voice, so when you grab the mic out of the singer’s hand, be sure to scream into it at the top of your lungs, otherwise nobody will hear what a great singer you are. Hearing is over-rated anyhow. The crowd and the sound tech will love you for it. BONUS TIP As a last resort, wait until the band takes a break and then get on stage and start playing their instruments. They love this. Even if you are ejected from the club, you can rest assured in the knowledge you have successfully completed your audition. The band will call you the following day to offer you a position

As someone who also plays the guitar and has owned several all-valve guitar amps I would expect to use the gain control to set the amount of "drive" and the volume control for the output volume. For an amp that didn't follow this method I would hope that it would be mentioned, along with the best way to use it, in the accompanying manual. I appreciate that with an all-valve amp some of the characteristics of the sound are produced by the output valves working hard as well as the pre-amp valves, but I would also expect for an amp with both gain and volume controls to be able to get a decent sound out of it at home practice levels.

I thought there was no filler allowed. Have you seen Victoria Beckham's face?

I posted this over on TalkBass in response to jb90’s comments, but I think it’s applicable here as well: My feeling is that one benefit of a public forum is an open discussion of both the benefits AND drawbacks of a piece of equipment, as well as potential challenges in learning how to operate a new piece of gear. Everyone benefits from these kinds of discussions provided they remain civil and respectful. What is not cool is when the discussions evolve into accusations based on incorrect information leading to false accusatory conclusions. Life is not all “glitter and unicorns”, there are going to be issues with any new gear. To avoid such discussions really do the community a disservice in the bigger picture IMO

I was lucky enough to find one of these in the USA. A little scary as the dealer was not local and all sales were final but it plays and sounds great. It's a 30" scale 6 string with 16mm spacing, tuned E-E. I have been using a JCR, 33" 6 string bass for solo playing (also tuned E-E) and I love the JCR. It sounds very rich, very complex, i love the aguilar super doubles and the pope preamp and the 33" scale but for some of the solo playing I do, the 33" scale and some of the stretches can be a bit tiresome/painful. The cazpar is passive and along with the ash body, maple neck, zircote fb, it's not as rich or complex of a sound as the JCR. I'm not sure if that's due to the complexity in woods and construction of the jcr, the scale length, all of the above or what...However, I've only had it a couple hours so that impression could change after I dial it in. With the shorter scale, I can use heavier strings and on the cazpar top 2 strings (B and E) i'm using .040 and .030 whereas on the JCR i'm using .032 and .022. With the 33" scale, I'm not sure I could go as heavy as what's on the cazpar. And with the heavier strings, I can dig in a lot more on the high strings which I really like. I posted a solo bass video of the JCR in this posting and I will add one of the cazpar in the next day or two so you can hear the comparison. So far I'm really happy with the cazpar and I think it basically replaces the JCR *AND* my ibanez headless bass so it's a good bargain for me, lol... Here's a clip of the JCR with the type of solo playing I do. I'll add a clip of the cazpar soon...

Do you mean 'invert it'?

Heard this on 6music the others day.... Adam and the Ants - Animals and Men (Peel session version)

One of my all time favourite Aswad tracks

Just thought of another one....

Don’t know anything about these basses, but why have 6 when you can have 7?

Same here. Though I nearly came badly unstuck one time when I briefly considered recording something carried by an acoustic guitar in drop D. After a bit of thought I switched to a solo piano, posted it and then heard someone else's (much better executed) song carried by... er... an acoustic guitar in drop D

Space Ritual - Hawkwind Overkill - Motorhead

Tacky or not, I could not help it.

There are many, here are some that come to my mind, in no particular order

Some, off the top of my head, that haven't featured so far (I would also have included some early/mid 1970s Pink Floyd and Genesis): What's Going On - Marvin Gaye Kind of Blue - Miles Davis Tierra - Vicente Amigo

So you want to parade your snazz on your five grand stereo?

Very occasionally, would I be allowed this

And out come the wolves by Rancid Every track is an absolute killer tune. Certainly the best punk album (opinion, not fact of course) of all time

I’ve got quite a few but these 2 are up there

Neck dive update, what neck dive?? 😀 Dunlop straplock on the horn made a bit of difference plus the lightweight tuners

Your chance to grab his bass at auction next week https://www.musicalinstrument-auctions.co.uk/sale/35/635/Jah-Wobble-Public-Image-Ltd--1979-Ovation-Magnum-1-bass-guitar-made-in-USA-ser-no-B4124-owned-and-used-by-bassist-Jah-Wobble-within-a-fitted-oblong-hard-case-with-JW-gaffer-tape-to-the-top-and-blue-tape-inscribed-Jah-Wobble-to-the-side-the-case-pocket-enclosing-a-guitar-strap--Sold-with-an-authentication-certificate-from-Andy-Baxter-Vintage-Bass

I can't be the only one who feels like this, but there are some bands who, during a certain period, I was so totally 'bought into' I loved every track on those albums... even if there was the odd track that may not stand up alone. For example first 4 Stranglers albums, first 3 Ramones albums, first 3 Velvet Underground albums, first 10-odd years of Fall albums.

The TT-800 manual is a master class in manual writing (as I have said before).

I'm sure I'll think of a few more, but this immediately sprang to mind....

Actually, it does not say this in the instant gratification section. It says to start at 1:00 on the channel masters. It’s also a full 2 channel amp, so the master volume controls are used to balance between the two channels for channel switching purposes. In the feature set descriptions, it clearly describes decreasing the channel master when using high gain settings and increasing the channel master when using lower gain settings. All of the controls operate as described throughout the manual, and provide the expected results. Features that are unique or unusual (like the symmetry control) are described in detail, which is why I always recommend to spend some time reading and understanding the owner’s manual. A lot of time and effort go into writing good ones. What does the Handbox owner’s manual say about the operation of the master control?

I was looking at these amps and they certainly look very interesting. However, I think it is acceptable for customers to discuss their amps 'issues' over a forum and this should not cause issue with a manufacturer. If this forum/discussion didn't exist, think of all the amps that would not have been purchased. In addition, sorry but the below is wrong with the all tube amps I have tried. "With tube amp your gain is your volume knob and volume knob is your "overdrive level" if that make sense. " I used to own an Orange AD200 and cranking the gain but lowering the overall volume produced an absolutely fantastic overdriven tone.

I like it, it's silly and emphasises the small body. Then again, I just put a mirror on my bass, so maybe the issue is with my taste

I've got to be honest, it's the one thing on the SS that I think they screwed up on, it being so oversized spoils the look. It wouldn't have been that much effort to have downsized as I'm assuming the passive pre could have been downsized in sympathy (so the knobs would fit).

Minor tweaks, BDPG from fuzzrocious added at the end of the chain for some beef and prob be squeezing in a heliotropic aswell!!

Also

Apart from this! Then there's this one (dribbling with bad language, I'm afraid!) And of course:

I've got a couple - UFO - Strangers in the Night Dan Reed Network - 1st album Queensryche - Empire I can still listen to them all on loop/repeat even 30/40 years on