Quatschmacher

Had a few of these moments, in no particular orders small selection: forgetting to unmute my amp after tuning so when it was time for my big bass entry in the song, nothing happened; the drummer misunderstanding the direction from the band leader to play quieter during my flute solo - he thought he was being instructed to slow down so all the energy went from the music as everyone else then lost their place in the form; battery dying in an active bass partway through a song; setting up at the gig only to realise we had left the piano stand on the pavement outside the drummer’s house; meeting at a major festival where we had the headline slot the next night and finding out the drummer had totally forgotten to bring the piano, which meant I had to ask the headline band of that night whether their piano player might be able to loan us his piano, thankfully he did; During the sound check for the above gig, finding that the saxophonist’s instrument needed a quite significant repair in order to function and emergency surgery was performed by the drummer; during a workshop before a gig the same night, seeing the relief on my fretless getting lower and lower until it became unplayable due to the heat; having the flute player’s frustrated exhortation of “no fùcking drums!” get broadcast at full volume over the PA when the drummer forgot the arrangement again; drunken party guest falling into the stage monitors mid-song, shearing the cable and knocking over a glass of wine and seeing the liquid flowing towards the exposed live pins of the cable in front of me.

Yes, I didn’t realise he was the composer of those until I read the article. I didn’t mention those titles so as not to potentially sway people one way or the other before listening to the above track. Definitely going to be checking his music out.

Hadn’t ever heard of this artist until I read an interview with him in today’s Guardian.

If it’s like the Subdecay Prometheus then that’s pretty accurate. Very meh.

Colour decided (though looks a bit different and much nicer in person compared to this image).

I’m in no danger of caving.

A bit chicken and egg though - it would sell better if more colours and fingerboard options were available.

I’m finding that disciplined piano practice is stopping any GAS; can’t lust if I can’t scroll and think about anything beyond what my fingers are doing.

Sorry, we may be talking cross purposes; I was referring to the Sandberg California Central, which only comes in two finishes.

Only two finishes though. 😞 If this had all the options I’d be sorely tempted.

This is the one for me. Early 2000s Musicman Sterling. I imported it from the USA in 2007. Sold it when I needed funds for a house move in 2018. Really would love to have it back; if anyone knows where it currently is, I’d love to hear.

The IR basses are very nice as just a bass.

I was surprised you’d bought it after the conversation we had about my heavy P. Rays with flats are great.

@Old Horse Murphydid you return the stingray? It seems to have reappeared on BD. Or are they just slow to delete?

@binky_bass might be worth asking if the seller will ship abroad. https://www.talkbass.com/threads/source-audio-collider-delay-reverb.1546781/

TL:DR 3.5 year wait with no bass. Got a refund after much hassle. I ordered one of these in December 2019 and am still waiting for it. Apparently all my parts are there but I’m now third in line. IR are very slow with builds; website says 12 months but I know of a guy who recently got his and had waited 3 years and 8 months for his after paying in full! With scant communication it’s a real nail-biter. The irony is that I’ve spent the years I’ve been waiting improving my keyboard skills, so by the time it arrives, I probably won’t need it any more. 😆 Anyway, it should look a bit like this when done (this is the actual body I chose): Their website is here: https://industrialradio.com.au

Finalised the specs (aside from the exact shade of blue of the body) of my Shuker P bass on Tuesday; here they are: 34" scale 20 frets 38.5mm nut width 19mm string spacing 21.5mm neck depth at 1st fret 23.5mm at 12th shallow C carve Mastergrade roasted flame maple neck rosewood fretboard Rolled fingerboard edges 9.5" radius board 2 way truss rod carbon fibre reinforcement medium jumbo stainless steel fretwire bone nut 2mm cream side dots 6mm cream face dots satin finish on the neck Schaller BM clover leaf tuners chrome Hipshot triple string tree chrome. traditional P shape alder usual contours reduced heel with recessed fixings (no plate) polyester basecoat Blue - exact shade to be decided (Pantone 15-4333 TSX / 16-4529 TCX / 16-4529 TPG / 16-4535 TCX were close) Mint/Black/Mint 3-ply pick guard (traditional P shape) ABM 3704c19 bridge Fralin (stock) pickup vol / tone (chrome, with small, discreet dot marker if possible) shuker/hiscox hardcase String with either Labella 760FM (49-109) or D'Addario ECB82 Medium Chromes (50-105). Already picked out the neck woods last year: I chose the one on the left. Jon has already begun work on it. I’ll post pictures as I get them.

A stone-cold classic.