cetera

I'm not sure you understand. PRS doesn't 'get a cut'. The songwriters of ANY music performed get the 'cut' after a very small admin fee for collection on their behalf. Also, a lot of music performed live or on playback across the nation is written by composers who are NOT the band members. Should they not get their money?! The small % of box office that PRS charges the venue to pay out the 'performing right' is suggested to be raised by the venue itself by e.g. adding a 1p to a pint etc but this is seldom done and couldn't be policed anyway. The venue are NOT supposed to pay this fee from the band's takings.... but who, honestly, can stop them? It's a no win.... PRS gets called the music police by the ignorant, but actually they have no such powers to enforce the way venues operate.... Want to blame someone? Blame the venue for passing their license costs back to the performers who keep them in business....

Ah, the old 'big bad PRS' thread raises it's ugly head again.... A few points: If you aren't a PRS member - you won't earn. That is unless you are published, get airplay/streamed and your publisher is honest enough to pass you a few scraps. If you are receiving commercial broadcast or airplay.... or you're gigging regularly in medium sized venues (oh, them were the days) then it's worth joining... If you are a PRS member then radio & TV airplay gets reported regularly and to a generally high standard by the Broadcasters, but if you know of any broadcast that you haven't received money for after approx 6 months then you can tell PRS direct. PRS has an unclaimed royalty file for all members who know they have had airplay but haven't received money (possibly due to incorrect or missing reporting). You can find your unpaid works there and claim them. If you are a PRS member and gigging then YOU should report your live performances. If they were ticketed events in arts centre size venues or above then they should be licensed to pay out on the % of box office. If they are smaller pubs etc then you may be able to claim a small compensation using the 'gigs & clubs scheme'. Do NOT leave it to the venue, or your band manager to do this, even if the venue ask you for a set list! Neither have any interest in you getting your money (unless you were stupid enough to give your band manager a % of PRS royalties...). It's called the music business, take care of your OWN business when you can...! If you are playing music on a radio/playback system etc in your workplace or on the shop floor then you are using music to create a 'pleasant working or customer experience'. That music is therefore doing a job and should receive a payment. Do workplace radios etc pay out exactly what was played? Of course not! That would be ridiculous in admin time, effort and costs. There'd be no money left! It IS paid out across a huge sample of music of different genres receiving heavier rotation at that time.... and then also paid out across lower earning music as well to attempt to redress the balance. It's an imperfect system, but as musicians/writers we should be glad that someone is giving it the necessary attention on our behalf... PRS is a non-profit making society, staffed by musicians, for musicians and is always trying to reduce costs/increase payouts. They are the #1 low admin cost/high payout royalty collection society in the World and have well known overseas composers flocking from other societies to join as a result. They also do solid work with new talent (PRS foundation/event sponsorship/showcases etc) and have a fund for older struggling composers going through hard times as well as other charitable, music promotional projects Are they perfect? No, far from it. No company is, especially in an ever changing environment (Covid, streaming, no live music, Brexshit etc). There are ALWAYS improvements to be made.... but their heart is in the right place and they are a huge force for good in lobbying Govts and industry organisations in protecting and maximising member rights. Directors earn salaries commensurate with any other highly experienced music industry professionals within the non-profit making area, but there are no fatcats per se.... As for this new tariff. It was agreed after consultation with all the major music industry bodies, but it is a fluid thing and expect there to be changes/improvements with time & experience. Sounds like I'm a salesman, right? Well, I'm just speaking from experience, having worked there for 25 years now, only on an average senior admin pay but proud to be assisting my fellow musicians and making a positive difference.

You mean some people have a different opinion? Well, hell, we'd better not post anything just in case someone doesn't agree with us.... Yep, that'd help!

No shaming here, just appreciation...

Glad I could help you find your 'holy grail' after all this time!

Thanks for the warning. I've just watched that a *cough* few times and still haven't unmuted it....

Beat me to it.....!

Doug Wimbish gives bass lessons...

I'll wait for Epiphone to put out a better 'Vintage Pro' version in black or tobacco sunburst with a decent bridge (like those in the catalogue pics above)..... THEN I'll be interested

I've mainly used UPS (thru Interparcel) and had good experiences, especially if you pack well (inc outer box). I don't ship over a weekend and always try to go for 24 hour delivery so it's not sitting in a cold warehouse unnecessarily or possibly getting lost....

Will PM

Exactly! Except I don't play prog/tech metal.... lol! I actually had the B3K and B7K before Darkglass became 'the norm' and they were good & versatile.... but I prefer a cleaner boost these days. A slight growl/grind is imho so much more preferable to a hugely compressed, mid-sucking, hugely overdriven clank... especially in a band mix. ANYWAY.... back on subject.... I'm looking forward to these new Spector Korean models and already have an Ethos 4 in 'interstellar' on order! Due end of July I believe...

Just need someone else to offer a different tone to the endless Darkglass players now..... lol! Those pedals, imho, are the reason so many prog/tech metal bassist have the same tone... no matter what bass they play!

With a different bridge and in tobacco burst or black I'd be all over that. As it is..... nah.... Here's hoping Epiphone do a Vintage Pro version with my above spec...

To be fair, the Fender dimension is such a forgettable bass I don't think it will be a problem

You're welcome. If it doesn't have a line all around the body edge (a wedge of walnut through the middle of the body) then it's a Euro 4. If it does have the walnut line then it's an LX. Re: the preamp - open up the back of the electronics and look. If there's a plain black box it's probably Aguilar. If it has a Tonepump sticker on it - then it's a Tonepump! £900 isn't bad for P-EX to be fair...

That's dark cherry. Nice bass! Depending on condition, I'd say £800 - £1100 It's up to you if you want to sell.... and picking up a replacement shouldn't be too hard. If it's 2003 though it's likely to be the highly regarded solid wing Euro rather than LX version, so you may be able to get a little more and an exact replacement would be harder to find. What preamp is in it? Non-trim Tonepump or Aguilar? The Bantam is a great bass.... worth checking out regardless...

Hellzero and Binky_bass both have me beat I'm afraid! lol!

"I plead 'guilty as charged' m'lud...."

OK.... I held back..... but I can't help it.... I'll bite.... Current collection: (PRE-KRAMER) SPECTOR SB-1 USA 1976 Active (Walnut/Maple) (PRE-KRAMER) SPECTOR NS-2 USA 1986 Active (Cherry Sunburst) - Hazlab ?(KRAMER) SPECTOR NS-2 USA 198? Active (Black) - Hazlab (KRAMER) SPECTOR NS-2 USA 1987 Active (Black) - Hazlab (KRAMER) SPECTOR NS-2 USA 1987 Active (Gloss White) - Hazlab (KRAMER) SPECTOR NS-2 USA 1989 Active (Tobacco Sunburst) - Hazlab (KRAMER) SPECTOR NS-2 USA 198? Active (Red/Black Lava Crackle) - Hazlab (KRAMER) SPECTOR NS-2 USA 198? Active (Red Stain) – Hazlab (KRAMER) SPECTOR NS-2A Active (Gloss White) – K-Haz/EMG upgrade (KRAMER) SPECTOR NS-2A Active (Black) – K-Haz/EMG upgrade (KRAMER) SPECTOR NS-2A Active (Black) – K-Haz/Spector SPECTOR NS-2 USA 2001 Active (Holoflash Black & Abalone) - ? SPECTOR NS-2X ‘Spectorbird’ USA 2012 Active (Tobacco Sunburst) SPECTOR Euro CR 2001? Active (Holoflash Black) - Tonepump SPECTOR Euro CRFM 2001? Active (Purple Stain) – EMG SPECTOR Euro CRFM 2004? Active (Emerald Green Quilt) – EMG BQC SPECTOR Euro CRFM 2004 Active (Plum Stain) – Aguilar SPECTOR Euro 2007 Active (Gloss White) – SNC Haz SPECTOR Euro LX 2012 Active ‘Ian Hill’ sig (Black) - Tonepump SPECTOR Euro LX 2017 Active ‘Rachel Bolan’ sig (Black/Silver sparkle)- TPump SPECTOR Euro LX 201? Active (see-thru Black Quilt) – Hazlab! SPECTOR Euro LT 2019 Active (Violet Fade) - Darkglass SPECTOR Euro Classic 2020 Active (Solid Red) - EMG (arriving in a few weeks time!) SPECTOR JA-CR Euro RI 2008 Active w/Badass (Gloss White) – EMG BTS SPECTOR JA-CR Euro RI 2008 Active w/Badass (Black) – EMG BTS SPECTOR Legend 4X Classic Active 2012 (Holoflash Black) – EMG DC/Tonepump STUART SPECTOR DESIGN NS-4 Euro Active (Red Stain) DINGWALL D-Bird 2019 (Blue/Purple Colourflip) WAL Mk1 Fretless Active 1982 (Mahogany with Stained Maple facings) WAL Mk1 Active 2000 “Geddy Lee” (Black with Gold Hardware) M.V. PEDULLA Buzz Deluxe Fretless 1989 (Black) FENDER Jap Precision ‘70’s Reissue “Phil Lynott” Alder/R-wood board (Black/Mirror) FENDER Jap Precision ’62 Reissue Alder/Rosewood board (Vintage White/Red Tort) FENDER FSR Precision ‘70’s Reissue Ash/Maple board (Natural/Red Tort) FENDER FSR Precision P/J maple board/blocks & East preamp (Sea Foam Green) FENDER Jap Classic ‘70’s Precision maple board & blocks (Sunburst) FENDER Jap Jazz Bass Special ‘Duff McKagan’ (White with black neck) JACKSON "Kip Winger" HB Signature Model Active (Cherry Lacewood) JACKSON TBX-Pro ‘Jacksonbird’ Active 1 of only 56 made (Black) JACKSON Ontario ‘Concert Bass’ 1987 Active (White) HAMER Impact USA Active 1991 (Black & Gold ‘Marble’) HAMER Impact USA Active 1991 (Red) HAMER Impact USA Active 1990 (Copper/Gold) HAMER Scarab USA ‘Rick Savage’ Active late 80’s (White) KRAMER Forum I Active late 80’s (Flipflop Blue) – damaged headstock KRAMER Ferrington Electro/Acoustic (Black) ESP The Surveyor 1984 (Blue Stain with Blue fingerboard!) ESP PPJ-160 ‘Masayoshi Yamashita’ Signature Model 1985 (White) ESP/Zep-II PPJ-160 ‘Masayoshi Yamashita’ Signature Model - Active (Black) PEAVEY RJ-IV “Randy Jackson” Signature Model Active (Red Sunburst) PEAVEY RJ-IV “Randy Jackson” Signature Model Active (Grey/Silverburst) PEAVEY “Rudy Sarzo” Signature Model Active (Dark Natural) TOKAI ‘Hard Puncher’ P Alder?/Maple board early 80’s (Black/Mirror) TOKAI Works TW801? Active 1987? (Black) FERNANDES MV-65NS “Nikki Sixx” Non-Reverse Spectorbird 1989 (Black) FERNANDES MV-65NS “Nikki Sixx” Non-Reverse Spectorbird 1989 (Black) FERNANDES MV-65NS “Nikki Sixx” Non-Reverse Spectorbird 1990 (Black) MUSICMAN Sub Stingray 4 (Black/Mirror) YAMAHA BB3000 (Black Sparkle) ARIA CSB ‘Black & Gold’ (Black) GUILD Pilot Active (Purple Burst) GUILD Pilot Active (Red) HAGSTROM Super Swede “Rutger Gunnarsson” Signature Model(Mahogany) ITALIA Imola GP “Ricky Phillips” Signature Model (White) EPIPHONE Thunderbird Vintage Pro 2018 (Black) EPIPHONE Thunderbird Vintage Pro 2018 (Tobacco Sunburst) HOHNER B2A ‘Steinberger’ Active (Black) HARLEY BENTON Standard Series P Bass (all-Black) ROCKINBETTER "RonnieBarker" Ricky copy (Jetglo) FELINE/SPECTOR "Gene Simmons SB-1" Hybrid. Active 1977 (Black) FELINE/KRAMER "Gene Simmons Axe" Active 1980-Copy (Black/Silver) PUNISHER "Gene Simmons" Ltd. Edition (Signed/#’d 0007) Active 1997 (Black) AXE "Gene Simmons" Ltd Edt (Signed/#’d 163 of 250) Active 2000(Black/Silver) CORT “Gene Simmons Axe-2” 2010 (Black/Silver) CORT “Punisher GS-2” 2011 (Black) STACCATO MG Active (Black/Magnesium Alloy/Numbered 22 of 34 USED to own (basses in bold I'd like back!): 2 Kramer Spector NS2A (Red Stain) 1 Kramer Spector NS2A (Teal) 1 USA Spector NS4 (white) 1 cherry Spector ReBop 1 red Spector NS2J-CR 1 natural Spector Euro LX 1 blue stain Spector NS2 CRFM 1 Poplar Burl Spector Euro LX 1 Zebrano Spector Euro LX 1 Dark Cherry Spector Euro LX 1 blue stain Spector NS2000/4 1 black stain Spector NS2000/4 1 cherry Spector Euro5 1 holoflash Spector Rex2000/4 1 black stain Spector Rex2000/4 1 black stain Spector Legend 4X 3 DeArmond Pilots (black/white/red) 1 Epiphone Goth Thunderbird 1 Feline Spector (black) 1 Aria CSB360 (cherry red) 1 Ibanez Destroyer (black) 1 Bass Collection (black) 1 noname P bass 1 Charvel Model 3A (purple) 1 Kramer Forum IV 1 Kramer Forum III 1 Fernandes Spectorbird 1 Fernandes Spectorbird ¾ scale thru-neck 1 Jackson Kip Winger (lacewood) 1 Jackson Kip Winger (White) 1 Jackson Kip Winger (Black) 1 Nightingale Harlequin 1 Hohner B2A ‘stick’ (black) 1 Musicman Stingray SUB (black) 2 Hartke XK4 (black) 1 Kay starter bass (cherry sunburst) 1 Avon Grabber coby (natural) 1 Washburn Scavenger (black) 1 M.V. Pedulla Fretless ‘Buzz Deluxe’ 1989 – got it back now! 1 Mighty Mite Precision 1 Schecter Model T (cream) 1 Fender Jazz Bass Special 80’s Jap original – got a replacement now! 1 Fender Jazz Jap Geddy Lee 1 Fender/Allparts Jazz ‘70’s (Vintage White, maple board/white blocks) 1 Guild Pilot (black) 1 Ibanez Soundgear SR1000? Custom Active 86? (Painted by Yoshiki 1988) 1 Tokai ‘Hard Puncher’ P/J Alder?/Rosewood board 80’s (Red all over) 1 ESP Horizon Custom Active 1990? Ebony Fingerboard (Cherry Sunburst) 1 Dingwall NG-2 Active 2018 (Purple) 1 Frankenstein Billy Sheehan ‘Wife’ Bass (Aria/Fender/Allparts clone) 1 G&L Tribute L-2000 (big logo 2003 Indonesian) 1 Archer KS3 ‘Kasim Sulton’ 1 Bass Collection Rickenfaker

In my 25 years as a founding member/bassist in KISS tribute 'Dressed To Kill' we were more than aware of the issues here. It was a mutual respect arrangement. We paid tribute to KISS, appeared at KISS product launches and helped promote the band when their UK/European record & PR companies were doing sod all, kept their name alive and spread the word.... We wore the outfits, played the iconic instruments and had the famous lit logo, drumhead logos, pyro, blood spitting, fire breathing etc.... BUT.... our name was sufficiently different (an 'album name' and a play on our 'look') and we NEVER sold any merchandise with the KISS logo or make-up prominently displayed. We ALWAYS made it clear that we were a KISS tribute.... and always supplied our set lists to PRS for the original artist to get fair payment for our live performances. As a result, they treated us fairly, always recognised us at gigs/events and even went as far as to keep a 'secret eye' on anything we were doing song/arrangement-wise. Really.....!! We had it on good authority that they copied a breakdown I wrote into the live version of 'God Gave Rock n Roll To You'.... and their Manager Doc McGhee also asked my direct opinion on adding Beth back into the live set....based on the perceived popularity of the song in our shows....

Cheers! Looks great... But at £860 inc shipping but plus import fees/VAT etc there's no way that bass is worth that....! I don't think he'd appreciate an offer of half that value

@Doctor J those Wingers just needed an EMG PJ / circuit upgrade. Great, lightweight, comfortable basses.... I'm guessing you still have the Ibanez SR900 then? Always fancied one of those or the higher grade ones with EMGs etc but you don't see them around much over here. Let me know if you ever decide to move it on...

@Doctor J - Love the King Billy, Jackson Winger, Peavey Sarzo, Ibanez SB900 & Hamer Chaparral! I know you still have the Hamer, but do you have any of the others anymore?

Lol! The list of basses I used to own is as long as the list of basses I still own...... i.e. loads!