mcnach

wow, great response, very nice! Thanks! That's giving me a few more things to explore

[quote name='Studio GC' timestamp='1488746112' post='3251524'] Very nice. I'm waiting for for fiesta red 50's bass that's in the post. Should arrive in a few days. I already ordered a mint white pick guard for mine. edit: I just gave away that I'm from the States....scratchguard I mean.... [/quote] tasty... I also went for the mint one...

[quote name='thegummy' timestamp='1488674314' post='3251023'] Bit late posting this as I've had it for a while now but been too busy to post... I ordered the pickguard before I even got the bass because I wanted to change it for the looks alone but as soon as I played it with the gold pickguard I was so glad I had another one coming - I hated the way it felt! Any time my fingernail touched it, it gave me the creeps! Also put flatwounds on it. [/quote] Nice! I know what you mean about the gold pickguard... I replaced mine within a few days for the same reason, urgh. Lovely basses (mine is the red one, on my avatar)

something like this? [url="http://www.ebay.co.uk/itm/Large-guitar-strap-pin-button-in-chrome-black-nickel-or-gold-/390319180408?var=&hash=item5ae0d60a78:m:mVFur6cjJsfe03RRN6wqYCQ"]http://www.ebay.co.uk/itm/Large-guitar-strap-pin-button-in-chrome-black-nickel-or-gold-/390319180408?var=&hash=item5ae0d60a78:m:mVFur6cjJsfe03RRN6wqYCQ[/url]

I know, I sound like I've been living under a rock. But hiphop never attracted me much, despite playing in a band with a strong hip hop component years ago for maybe 9 months I just have heard a lot of stuff I did not like, and little that I did like. But a semi random conversation on Saturday has led to a whole new world. Yay! Oh, and Spotify too, that helps. Any favourites out there, especially with nice bass? I'm going through the usual suspects: Cypress Hill and Public Enemy (especially with a bit of Tom Morello and sometimes TimC and Brad Wilk too), NWA, Dr Dre, Busta Rhymes... The Cypress Hill tracks with Tom Morello (of Rage Against The Machine fame, for those who are not familiar) are especially tasty... no surprise as it sounds like RATM without the whiny vocals of Zach

[quote name='Wolverinebass' timestamp='1488743391' post='3251483'] Finally, I got my hands on one. I tried a Hellwood at the Darkglass stand. I quite liked it, but for the nut width being too thin. Will Adrian alter that if you ask? I'd want it changed to 42 or 43mm as the standard 40 is just too thin for me and feels odd in my hands. Where is the price listing for all of the models? I don't seem to be able to see a price for anything except on the stock basses. [/quote] Yup. Like you I prefer 42-43mm widths. My first Jake was a pretty much stock Jake except I asked for a wider neck. I gave dimensions at a couple of places along the neck. Oh and I specified a lacquered neck too. No problem.

Late night gig at a local venue... for some reason there was a lot of Spanish people around, which resulted in a lot of bemused faces when we introduced one of our songs, about a trout, that includes the word for trout in Spanish as part of a call-answer thing with the audience

[quote name='jazzyvee' timestamp='1488587268' post='3250373'] Tonights gig was superb. Played a jazz/reggae fusion gig with my band. The sound guy told me it's the biggest crowd he can remember at the venue. Good to know. [/quote] nice pic! looks like fun

[quote name='discreet' timestamp='1488578998' post='3250330'] If you could spare just one lovely drummer I'd be very grateful. [/quote] noooooooo, they're my preciousssssss

[quote name='Burrito' timestamp='1488577017' post='3250307'] I think it depends on the band. A covers band of mine I would expect the dep to take the same as the rest of us but my originals band we usually pay a bit more on the rare occasions we need someone because they have had to learn a set of original material. [/quote] That's pretty much my experience too.

[quote name='hiram.k.hackenbacker' timestamp='1488574422' post='3250269'] We'll agree to differ then. Demanding or expecting a larger fee than the regular guy/girl certainly seems to be valuing yourself more to me. All of the bands in my circle divide things equally. I wouldn't play with the ones that don't. Each to their own I guess. It's the music that counts. [/quote] it's true, we may still disagree and that's fine... but I am still having trouble with the 'valuing' yourself more than another person. It's a different job being a dep or a regular band member, so I don't think the pay is necessarily going to always be the same. I would certainly never ask for "what your guy gets PLUS £x"... but each job has a minimum price below which is not worth taking for a given person, and this minimum price will vary with circumstances. Sometimes that minimum price is higher than what their regular one would get... but it's a one off "save our gig" situation. Similarly, if they offer me £z and I talk to myself and think "yeah, that'll do"... if it turns out that the band made more, I might go "dang, I could have asked for more" for a minute, but hey, I did it for an amount I thought reasonable, so it's all good and I would not think they value me less. I don't get that way of thinking. Tell me: When you get offered a dep job, and they say "we can give you £xxx plus transport and food", do you ask them "ok, but first tell me how much the other guys are getting?".

[quote name='discreet' timestamp='1488570552' post='3250226'] Christ, again? What is it about drummers that makes them so irritating, so tedious? [/quote] mine are lovely... maybe I'm too selfish and I'm keeping all the nice ones?

[quote name='taunton-hobbit' timestamp='1488570113' post='3250220'] I think the 'problem' seems to lie in the 'serviced' part of their advertising (on every ad) - customers seem to hope that the object has actually been on a bench - lately..........from the Les Paul forum it would look unlikely..........if I buy off fleabay I tend to expect the object to be somewhat less than described - I also don't expect to pay top dollar for anything else......... [url="http://www.vintageamps.com/plexiboard/viewtopic.php?f=53&t=112283"]http://www.vintageam...p?f=53&t=112283[/url] might shed a little more light.......? [/quote] I get that, but that's no different from multitude of other cases when you buy something that is expected to work and it doesn't: return and keep looking. A bit like buying a used car... when the shop tells you it's been serviced, I don't expect they've done much more than ensure it's got oil and the brakes work... I think there's a bit of misleading from the shop's part (implying they do a thorough service on those ancient amps), but also an over-reaction from the buyer's part. I feel there's something missing in the story here.

[quote name='kodiakblair' timestamp='1488390032' post='3248567'] Mate of mine has the J&D jazz bass. Said it had cheap hardware and a lousy fretjob. Once he'd sorted that out it was a nice bass. [/quote] mine also needed the fret ends filed a bit, no biggie... hardware was absolutely fine and I was ready to change the pickups when I bought it but I actually liked the stock ones so they stayed, despite being slightly microphonic. I played a few gigs with it and had a lovely sound. I loved the neck.

[quote name='drTStingray' timestamp='1488386172' post='3248511'] There's some confusion in this thread though quite a lot of info is right. SR4 is just an abbreviation for Stingray 4 - you can guess what an SR5 is. New current spec Stingray 4 string comes in a variety of colours, a hard shell case, can be had with rosewood, maple or pau ferro (Fretless) fingerboard, and with 2 or 3 band EQs and can be had in bolt on or neck through configuration or with H, HH or HS pick up configurations. The bolt on can be had with a narrower neck profile (ordered as an SLO special), they all have ash bodies (occasionally a PDN limited edition model may have a different wood such as alder). There are other models including the classic Stingray (2 band 4 or 5 string with highly figured neck wood, and other retro features like string through body bridge with mutes) - there's also an old smoothie version of the classic with a different pick up and other features. The classic, old smoothie and neck thru are higher priced than the normal model (because they have higher grade materials and features) - this may be why a 2 band appears more expensive than a 3 band - but possibly comparing standard model with classic. The normal model in 2 band form should be slightly cheaper - natural body colour commands a mark up on price also. A few years back, the standard SR4 (i.e not classic etc) was available from some dealers for £999 in red, white or blue, with 2 band EQ and a gig bag - there may be one or two still around - this was back when the economy and particularly dollar v pound values hadn't changed greatly so if you find one, it will be a bargain (and likely more than £999 now). The poplar body won't make much difference and was used in the early 90s for all of the solid colour SR4s and SR5s. Maybe slightly mellower than ash at the extremes. The US Sub Stingrays also have poplar bodies. You are right there is a vast range of prices but if you order new they will be reasonably similar - used prices vary greatly - some of the more unusual specs and colours sometimes command much higher prices - depends if people want them (basic supply and demand). [/quote] drTStingray always ready to clarify anything Stingray thanks!

[quote name='NJE' timestamp='1488372933' post='3248329'] PMT still have these 'cheaper' Stingrays in stock, I tried one recently and it was 100% USA Stingray. As others have mentioned, a few years ago they got the cost down on USA Stingrays by only offering Blue, Black and Red I believe, with a gig bag and 2 band EQ. I have never read anything about a different body wood being used but that is not to say that that information is not correct. [/quote] +1 There's no such thing as an "SR4" model, that's just shorthand for Stingray 4-string that is often used, and those are *real* Stingrays. I don't know anything about the wood being poplar. But I had the feeling that only translucent MM instruments were ash/alder and the rest could be various things. Not 100% sure. I do know, from owning a 2003 SUB made with a poplar body, that the body wood does not detract one little bit from their "Stingrayness"

I'm a little confused... There's this old amp. It doesn't seem to work properly and needs a substantial investment to put it right. It sounds to me like, as a buyer I have two options: 1) I return it (one channel didn't even work, we're not discussing whether it sounded good or bad which can be subjective), or I keep it and take care of repairs. If I go ahead and start repairing it, I cannot go back and force the shop to contribute to it. So I'm confused, I'm not sure what happened here...

[quote name='hrnn1234' timestamp='1488352071' post='3248065'] the issues with the drummer are actually what I dislike the most about playing with these guys. I thought of going away twice already only because of this guy. I'm sure I could find common ground with the singer, but having to tip toe around two people out of three so I get no nasty reactions? I'm not looking forward to that. [/quote] If you guys still aim to gig regularly, it means you'll spend a hell of a lot of time with each other. I'm not sure how situations come to this, but what you describe is not healthy... or fun. It sounds like the only happy moment is onstage while you play. Unfortunately that's the activity we generally spend the least amount of time doing. It doesn't look good. I'd still go for that meeting, because you're clearly enjoying the music enough to make you doubt, and few things are worse than wondering "what if..." afterwards. But I would not have big hopes for this to work. Your drummer sounds like an idiot. It's a shame, I've been watching a few videos and I really enjoy what you guys are doing. Hmmm... maybe you can... you know... make it look like an accident...

[quote name='hrnn1234' timestamp='1488265515' post='3247262'] I kind of left my band last week. I moved to Vienna (AT) about four years ago and after a few hit and misses I started playing with this guys. The band is the drummer, guitar player, singer and me. I played it quiet for long as there was a culture shock in between (I'm from south america, so it's very different how people behave and whatnot). I adapted to the weird (for me) band dynamics: the singer very often left immediately after we played the songs we had to practice, the guitar player is the de facto benevolent dictator -luckily an excellent guy, so I had nothing against that-, and the not so good older drummer who thinks he knows best and only takes input from the guitar player only getting mildly upset. Since the band had existed for almost ten years before I came, and they had been very active once in the Goth scene, all the gigs and aesthetics revolved around that. I didn't care really. I like the music they play, although it's nothing gothic (I've posted a video in the live video's thread), and I have a fake leather jacket I can wear to gigs. Also, the fact that they had been playing for so long seems to have made them feel as if they were entitled to something, but the fact is that the crowd at the shows was only friends and wives. Which is also fine by my. It's all fine, until we start discussing the way forward. They wanted to play for more people, but there are only a few goths in Vienna. And although we played shows outside the goth scene with much "success", they didn't want to look much further and play for other people nor stop describing the music with the word "Goth" in it, when I proposed them to. Which again, would be fine by me. I'm in it for the music, I have no intention to be famous. But they seemed to feel unappreciated as band so they wanted more, but the zero crowd gigs kept hitting them hard, so we would sit and talk about it, and the discussions kept going in circles. I've played two years with them and now a friend of the band, who says has contacts in the industry, has offered herself to be the manager. She said to drop the goth-handle and broaden their audience and they said "what an excellent idea". On top of that I had the idea to express my views about playing a gig in a city about 350km from vienna, in an event organized by a guy that organizes industrial/electronic/goth parties with near zero attendance and wants us to mix it up a bit, because there will be only another band, besides the two DJs, and it's electronic. What I got was a huge speech from the singer about how I should weigh if I'm ready to comit to the band or not, because they are ready to travel how many km's are needed to play for five people, if that means playing for five people that haven heard us, and how he expects everyone in the band to bring motivation and effort. This is was the last drop, really. We met in our practice room on saturday, and very diplomatically (really) I told him f*** this sh*t. I was shocked that they were so shocked. Clearly no one in the band had possibly imagined that I could be fed up with anything (which is a bit of a testament of how unheard my voice is). It was all this (with a few more episodes of being dismissed and later on taking up the idea on their own) and the lack of possibility of interacting musically with the drummer that got to me over the two years. But again, it's their shock what got me the most now. The manager was present at the time and she talked us all into discussing this over a few beers in two weeks. I accepted only because no one saw it coming, but then it got me to think if I overreacted. Or maybe not? Phew! [/quote] I understand your frustration, but never quit in anger or reacting to something. That's something I learnt the hard way (in general, not just bands). They do seem, however... 'a bit precious'. A lot of what you said would be huge red flags to me *if* I knew all that when joining. The band dynamics are not great, although you have an impeccable taste for dresses I have to say I liked what I saw in that video. It's not my #1 kind of music, but I would be happy playing what you're playing... from a musical point of view. It can be great fun. But what you say about the personalities of the band members would frustrate me as well. It's a tough one to choose to leave a band you enjoy musically. You have to decide whether you can be happy with the way the band operates, 'though. It's probably a good idea to talk over beers once everybody is calm. If you have to go, you have to go and maybe you can go in good terms (even if you despise any of them... the world is small, so don't make enemies unless you really must, you never know when you'll come across each other again)... or maybe they get to understand your view and you can continue to enjoy the band. The new 'manager' also sounds positive. It sounds like they listen to her and they are open to making small changes that can open up better possibilities for the band. Yeah, it stinks when you suggest something, get ignored, then somebody else comes with the same idea and it suddenly it's a wonderful thing! It happens. Sometimes we have to bite our lip and smile, and be pragmatic... But it may be a good sign. Now all you have to do is become her friend and next... the band is yours and do what you say! (joking... a bit) I can't tell you what's best. It depends on just how fed up you are, whether the music can compensate for other things, and a million other factors only you can judge. All I can say is... don't quit while angry. Don't make any permanent decisions while upset. I hope you can make it work *if* you can be happy in the band. I really liked what I saw. Nice work.

[quote name='hiram.k.hackenbacker' timestamp='1488551566' post='3249953'] I disagree, but only from personal standpoint as a dep. I would never hold myself up as worth more than any other member of a band that I was depping with. Even taking into account however desperate they might be. All I ask is that I get sufficient time to do my prep. To ask for more than the others would make me feel like I was taking advantage of them. If I discovered that I had received less as a dep than the regular bass player would have received, that would be the last time I would hve played with them. Where does that stop? The word gets around that I'll play a gig for less than the others, next time it's even less and then less again. Resentment ensues. Alternatively, its known that I will play any gig I'm available for, but for an equal share. Whenever I've had a call for a dep gig, the first question is always "Am I available?", not "Can you do x date for x amount of £'s". I like to get these things clear from the get go. Equal pay for equal work and given adequate prep time I'll do a top job. Insufficient prep time and I won't wing it. Half the buzz of saying yes to the dep spots is I get to play stuff that I wouldn't normally. I don't expect to be reimbursed for the prep time either. That's down to me if I commit to the gig. I look at that part as a learning experience. [/quote] It's not really about valuing yourself more or less than the others, in my view. I don't see a dep as a band member, but rather an accessory. It's like running a delivery service and 5 of your drivers got food poisoning last night at the work's night out... so I would look to hire 5 new drivers just for a couple of days. The contract with them is independent and has nothing to do with what I paid my regular drivers. Because it's a temporary contract, it comes with a different set of circumstances/conditions and that may affect the wages. The same with a dep. A dep may have to work harder at shorter notice, and being a "non-member" will not reap any further benefits from the gig (other than being asked again, if needed, I suppose)... at the same time, he doesn't need to worry about a lot of the band business. His job is simply to be able to play what he was asked, and do it when requested. In a way he is an 'emergency service' so if he ends up making a bit more I don't see it as a problem. If he ends up making less than the rest, it's purely down to him: presumably he thought X amount was sufficiently attractive. Either way, no harm done. Personallly I don't need to know whether band Z will get so many £££, and this much goes to the BL as a 'finder's fee' and this much is deducted this way or another... tell me what you're offering, and if it works for me, I'll say yes. Or ask me how much I'd want, and I'll tell you. Most bands in my circle just divide things equally, but not all operate that way and that's ok as long as both parts are clear about what what each will provide before committing.

[quote name='chris_b' timestamp='1488550033' post='3249926'] I depped for a fantastic blues/rock band many years ago now. The argument started as we were packing up and the band had all but broken up by the time my gear was in the car!! [/quote] I can imagine you calmly watching while eating an icecream, sitting comfortably... unless the argument was about who decided to use this dep

[quote name='Rocker' timestamp='1488539526' post='3249759'] I disagree. The majority of punters don't know that there is a difference between bass and lead guitars, let alone the different makes and types of instruments. Looking confident and in control will get you through... [/quote] so true... I only found out two weeks ago or so that my girlfriend (whom I met from her becoming a fan of the band and appearing at most of our local gigs) didn't know initially that the guitar I was playing was a bass. And before the obvious jokes start: yes, before we started dating she knew very well I was the bass player

[quote name='dood' timestamp='1488537983' post='3249741'] Yup, great example. Any band that treats the Dep with anything less than like royalty just isn't professional. When I've been in a band that needed a Dep, we rallied round to make sure charts and recordings were on offer, gear could be borrowed, rehearsals were paid for and the Dep didn't even have to drive to the gigs. We needed them more than they needed the gig. Deps are very valuable. Look after them as you might need them again in the future. [/quote] wise words! Recently I found myself in an uncomfortable position, where my main band got offered a gig that they all were very keen about, but I was already booked in with another band I'm "temporarily but long term" involved with (essentially a dep job that got extended). I love both bands. My main band would not hate me if I said "sorry, can't", some of us do other things and while we give priority to the band, once we're booked elsewhere we leave it. But they were very keen. And, to be honest... so was I. It's not going to pay a lot but it's going to be great fun, and it is local and my girlfriend will be there too (there's this other band from Glasgow we both love), while the other is out of town and I would not be back until noon the next day... So I told the second band that I'd find a dep if they're ok with it. They were. I asked how much we were going to get. It was a bit lower than usual, unfortunately... So I decided to bump it up from my own pocket when I contacted two people that I really rate, both as players (both leave me in the dust!) and as people (both are really nice guys and dependable). One of the guys was known to the band, so they chose him. He had a month to learn one hour's worth of originals and a few covers. Pretty easy 'though, but it still takes time. Fast forward to 10 days before the gig. It gets cancelled. They had not yet met and rehearsed together, but the guy had learnt already the songs, and I knew he would have been very good at it... so I ended up giving him some "consolation money" anyway. Why? Because, first, he deserved it, and second... I now know he can be a dep for us much more easily since he's already learnt those songs, and I want him to feel appreciated so that in the future maybe he can help us if we need to. Bands who don't treat deps well will find themselves one day having to cancel gigs and wonder why everybody seemed to be so busy that they could not work with them...