Dad3353

I live in France, and see the Thomann prices in Euros. They have increased in the same way as the GBP prices to the UK. France does not have a 'B' heritage to blame; the prices have gone up, is all. World factors are the cause. Price increases are across the board, for all. It's probably true (I wouldn't know...) that some specific UK issues have been in play for some (many..?) items, but bass prices isn't one of them, to any meaningful extent. Just my tuppence-worth.

I might be wrong, but I read the question as being 'are £1500 basses worth so much more than £150 basses that are equally mass-produced..?'

Here's a working link to the petition page; easier to use, maybe..? Petition : Save Abbey Music Studios from closure by NHS Oxleas Trust ... Seems like a real rum do to me. Someone must know the real motives and reasons for this..? Very odd. I hope the petition provokes a positive outcome. Edit : petition signed, naturally. I didn't appreciate the petition site's insistance that I contribute more, but that's just me. I hope the issues get resolved and that the Good Work being done at that studio can continue and flourish.

The number I like least is '28'. Here's why... An aging comedian retires to a retirement home for retired comedians. On his first day there, he goes down to lunch, and there’s a bunch of retired fellow comics sitting around the table. The conversation they’re having puzzles the newcomer somewhat. One of comics at the table announces “12..!” and everybody laughs. Then another one says, “44..!” and there's slapping of thighs and guffaws all around. During a lull in the conversation, the new guy introduces himself, and asks, “What’s going on..? What’s so funny about calling out numbers..?” One of the comics says, “Oh, you’re the new kid on the block, eh..? Let me explain. We’ve all been retired for many years. We’ve been telling and re-telling the same old jokes for so long, we’ve assigned them all numbers. To save time, instead of telling the joke again, we just say the number..!” “Wow,” says the new guy. “I’ve never seen that before. That’s pretty smart. Mind if I join you..?” “Certainly,” the other comic says, and beckons him to sit down. The newly-arrived comic is eager to fit in. So five minutes later, he calls out, “28..!” Nobody laughs – you could’ve heard a pin drop. His voice quavering, he asks, “What’s wrong..? Isn’t number 28 a good joke..?” “Yes, it certainly is,” replies another comic. “But it’s the way you tell it."

... as one does. ...

Some forty-odd years ago now, we returned to the UK for a family visit. During a shopping trip to Tesco, I came across a pack of four potatoes, sized for oven roasting, in a plastic tray. I couldn't help exclaiming out loud at the price of £3.99 on the label: that's one pound per spud..! In my mind, that pound would have bought well over a stone of spuds at the greengrocers, back in Shepperton when I lived there. Prices creep up all the time, but we don't really notice it, it seems, and the decades slide by, untilwe are made rudely aware of these increases with a sharp awakening shock. I've just looked it up; a stone of spuds in 1971 would have cost between 6s6d (35p...) and 11s.(55p...). The same spuds now are between 12 and 35 times dearer. A tenner or more for a stone of 'taters..! Cost of living, eh..?

'Back in the day', pro-level basses and guitars were only for those with deep pockets, so not much has changed in that respect. The more affordable instruments, though, are now of a very high quality, compared to daze of yore. The high 'pro' price is maybe just to differentiate them, as I suspect that real production costs are very similar across the range (I'm excluding 'custom' or boutique' basses, here...). I couldn't afford a new Precision then, and can't afford a new Precision now.

There are more benefits from MU membership than simply insurance cover. They become more apparent when there is a need, of course; it's a gamble as to whether any such need arises. Same as insurance cover, really.

A pretty good conversion with 5-string p/u's and a 5-string bridge, though. No, it's ben made that way from the outset. It's not a Fender Custom Shop, but it's not a Fender Custom Shop price, either. My six-string fretless wasn't a big-name make, either, but we've been playing gigs with it for several years, now. The one above has no snob appeal, granted, but is, I reckon, OK for the asking price. Just my tuppence-worth.

Sign 'em up as MU members.

Posted previously (2015...), but may well count still...

Trick o'the light, mate; trick o'the light. (... and for a fretless 'fiver' 'jazz' copy, I don't think £99 is too bad a price...)

This is a Bryce acoustic bass headstock, with its logo... Hope this helps.

As explained, the 'click' seems to be present for the whole band, and the track we see is what the room mic picked up on the 'One' beat. It's suspect, and very unusual for recording. That's why I asked if we could hear the issue, not just see the DAW screenshot. We're not seeing a typical DAW recording at all.

I'd agree, adding that it would appear that you're playing slightly faster than the tempo (each of those bass notes creeps forward a tiny bit more each time...). I wouldn't worry about the click, though, as it is, itself, behind the beat as shown by the bar lines (OK, it's not really a 'bar' as such, just the time divisions for the 4/4 beat but... Whatever...). You won't be able to match that up to the click, as your notes don't match up to the 120 bpm. Does it matter..? Over the length of a song, if this was continued, you'd be seriously 'out' after a short while. As that doesn't seem to be the case (or you'd have noticed, along with your bandmates..!), I'd say it's all fine, hunky-dory and just dandy. You could try, as an exercise, lining it all up, just to see (hear..?) if there's any difference; I suspect that, if there was, it'd sound worse. If it's 'rock' you're playing, just carry on; it's fine. Really. If that's your only issue, you're doing OK.

Two notes (I think it's Marty Balin on bass here, not Jack Casady...)....

Alas and alack; I rue the day (well, it was night, actually..) that this burden was laid upon me by The Seeker, cursed to roam the pages of forums (fora..?) to mete out retribution to those defaulting on the use of apostro... Ooo look..! A bee..!

Hmm. May I suggest re-reading posts before committing them..? Are they so urgent as to not be worth the time to be sure that they are correct in all respects..? Hmm...

Isn't that the way wireless IEM's work (and you mean 'battery-powered receiver, I think..?). There's a whole range of IEM's available, from many sources, and at all price points. Wold they do the job..? If you were to wear the Tascam at your belt, you could plug the bass in, directly, and use ordinary headphones. That would be the least expense, but would have cables to the Tascam and to the headphones, but nothing else; no need for wireless. No good..?

That's never stopped most of us; do as Lenny and I do, and just 'roll it in glitter'.

Have you heard Lenny recently..? ...

Could you 'screenshot' this, please..? It's possibly just a matter of degree; half a bar ahead is obviously a tad 'too much', but bass notes have a certain build-up to them, so it's not always the peak of the note that one hears first. If we could see how far away from the beat you are, we could maybe advise a bit better..? Another point is that it's Music, not Mathematics, and often enough, too 'mechanical' doesn't cut the mustard. Let's see, first, though (and maybe a quick sonic extract, so as to hear what's what..?). If you can. Douglas

It didn't do Segovia any harm. Many bands just seem to prance around, mostly in an affected 'Look, I'm up on stage' manner, with no rhyme nor reason. Once off-stage they go back to a normal semblance of Humanity; the 'stage' presence' being simply sham, going through the motions, artificial, shallow stuff. If it's to be a ballet, get it choreographed by someone competent. If it's a musical event, play the music. Quality is Quality, and pogoing is not much of a visual addition to the event. I'd rather see (and listen to...) good musicians playing good music than good musicians poncing about pretending to create 'ambience'. The 'Shadows' stage moves are cringeworthy, in my view, and they were amongst the Good'uns..!

I went to Nottingham to get my Verithin bass, and on another occasion to Kingston-on-Thames for my Hiwatt amp. I live in Lower Normandy. If it's worth wanting, it's worth fetching, I reckon.