dangerboy

[quote name='Boneless' post='363596' date='Dec 26 2008, 12:20 PM']I was also thinking of getting a RAT (don't know which one though... RAT, RAT2, Turbo RAT... I don't really understand the differences ), and blend it with the dry signal to preserve lows, but I'd obviously prefer a bass-dedicated pedal [/quote] It does sound to me like you need a RAT. I have a fairly similar tone to you from the sound of it, and find that one works great. RAT 2 is more grindy, Turbo RAT more like a guitar solo sound. I have my Turbo RAT rigged to do both sounds, and definitely use the RAT 2 one more. Preserves lows just fine. Have a listen to the bass sound of SCUL HAZZARDs (www.myspace.com/sculhazzards). Tiffany keeps her RAT on all the time.

I bought MCW's jazz bass. Fantastic guy to deal with. A real pleasure.

I stopped reading as soon as I saw a Primus tune listed. This list is presumably compiled by people who work in guitar shops, rather than people who listen to music.

Excellent. I look forward to SX fans queuing up at my door in 2009 to buy the spare 'classic-style' jazz neck I have lying around. I might even add 'RARE!!!!!' to the description after next summer.

I find the economics of the whole originals scene in London a bit weird, but I guess it's evolved into a stable state. And honestly - if you can pull 200 people you won't be doing these nights. But everyone has to start somewhere, and the originals market is SO crowded in London that it's ludicrous. In most cases the PA and soundman are provided by the venue, who charge the promoter a fixed fee. The promoter then books bands, and charges what he/she thinks they can get away with on the door. Most promoters don't promote bands, and then don't pay them either - they make enough on the door to pay their costs plus a nice profit, then start to give bands a quid here or there if they bring more than 20 people (which in most cases is enough to pay all the promoter's costs outright regardless of whether anyone else brings any people at all). Everyone gets paid except for the people who are providing the content. Which is screwed. I don't understand why we need separate promoters anyway. All the best nights I go to are put on by bands or people closely associated with bands. I love playing and going to the Vapour Trail in Holloway, Club Hell in Kings Cross, Rip This Joint in Camden, Goonite, Tooting Bizarre, Spatchcock in Stoke Newington etc etc. All nights put on by bands or closely related people (as is my own Duel in the Deep in Shoreditch). The bands always make sense together, so more people turn up since they're getting better value. And the bands often get paid, because the promoters aren't in it to make a profit. When I promote I'm usually not that bothered about how many people a band will bring - I just want to know if they're making interesting and important music, and whether they're going to be fun to work with and put on. If we make a profit, cool - and we give it all to the bands. If we make a loss then I'm a fool. So London originals bands - start your own nights. One a month isn't that difficult to arrange, and you'll make a lot of new friends. Let's remove at least one layer of the people making money off our backs.

I've got a Tech21 XXL for sale, if you fancy it.

Stewart is a great seller - and a lovely guy too. I bought a bass from him, he hand-delivered to my local.

And when Richard does sell something he's a great guy to deal with. And he's the king of packing. I now own the TL606 cab he built, and it came DHL without picking up a single mark. Incredible!

Stewart is a real pleasure to deal with. I sold him a trem pedal and his communication was flawless.