Kiwi

You're describing what nearly 20 years of playing experience has led me to discover for myself. I'm also a great believe in matching basses to amps (and speakers) for this reason. Ultimately all three components (bass, amp and speakers) are part of the recipe and we choose flavours that compliment and enhance. You described the amps in your OP in exactly the terms I expected after playing through them which was affirming.

Yes, someone on here admitted to having one in their collection a few years back. They were basically black, Jaydee-made jazz basses, nothing special.

And we bumped it up just this week...

Not in a blog format, I'm sorry. But you can set up a thread along fairly similar lines. Oldman has done this.

I'm going to remind everyone on this thread about our policy to take action if the tone starts getting too personal or antagonistic. Feel free to disagree but please keep the exchanges civilised. Thanks in advance.

For the boffins amongst you, we needed to upgrade from Php7.4 to 8.0. It affected the BC theme for some unknown reason.

This seems like more than a gambling addiction, there's compulsive risk taking, a total lack of remorse or empathy plus both shameless and cunning dishonesty. I don't think he's doing this because he needs to survive.

Geoff Gould pioneered monocoque design for Alembic in 1976. This is a different mode of construction, known as wrapping. Status used this in the body wings for their Series 2000 and Stealth 1 models. Their necks were still monocoque. This was the approach the Status took in their Stealth II model. They used epoxy foam injected into the hollow space left over after monocoque construction.

It's been unlocked for you. If the title has withdrawn or sold in it, it'll automatically lock. This is to save some time in moderating.

Based on my experience with their jazz necks, I'd probably avoid it. But I wouldn't stop someone else from pulling the trigger.

I have to admit turning down the opportunity to buy a 1965 Jazz about 15 years ago for £3500 for two reasons: 1) It was light but fragile. I was paranoid about something breaking, even as innocuous as a solder joint, and losing value on it. 2) I didn't like the idea of thousands of quid being tied up in an asset that was so easy to carry. It would never be gigged because I would be in sentry mode the whole time and that would undermine the satisfaction of owning it to a large degree. Ironically, another one of my basses has surpassed that in value by some margin so I find myself in that situation regardless.

Yes, and there are some goldtops-refinished-as-bursts out there that have maple caps with an off centre glue line. It wasn't so important back then. They probably just wanted something that looked like a burst from the audience.

Cough.

It's actually a strategy to test interest out. They can monitor the number of watchers and, if they're serious about selling, they'll lower the price for a quick sale. Alternatively they will hang on an outrageous price to hook someone who is desperate and willing to pay above the odds...thereby setting a new precedent for others to use as the basis for yet an even more outrageous price. It worked for Wal basses.

About a million dollars for the best, particularly if it has celebrity provenance. Kirk Hammet paid US$2 million for Peter Green/Gary Moore's 59 sunburst LP. They've started to acquire nicknames now, like stradivarius violins which just adds to the mythical associations. Peter Green/Gary Moore LP = "Greeny" FKA "Collectors Choice No. 1" or "Magic" Jimmy Page's LP = "Number Two" Jimmy Page/Joe Walsh's LP = "Number One" Billy Gibbon's LP = "Pearly Gates" George Harrison/Eric Clapton's LP = "Lucy" Eric Clapton = "Beano Burst" Steve Lukather = "Rosanna Burst" etc. Of course this helps Gibson immensely because they can, like Fender, release limited edition replicas or reissues of legendary models at significant margin over the production line versions with minimal extra production costs. Funnily enough, it's estimated that over a thousand 59 Les Paul sunburst flame tops are left out of a total production volume of about 643 (according to burstserial.com). Mainly because in the late 60's it wasn't unknown for some players started to get 58 goldtops stripped and recapped with a quilted top. Or sometimes just refinished with a sunburst. Ed Roman was infamous for doing this and then flogging the modded instruments as original sunbursts with a refinish.

I think this is closer to the truth than many might admit. Look at the classic car market at the moment for a hint of the near future and the art collectors market for a flash of the future 20-30 years from now. Halo guitars like a 58 Les Paul sunburst flame top will have reached mythical status just like the Ferrari 250 GTO SWB. Relics of a romanticised era of popular music to be worshipped and fetishised due to their nostalgic associations, more than their actual substance. The art world is worse. No final sale price that has ever been achieved through the main auction houses could be justified in terms of the cost of materials and labour, not even Damion Hurst's 'For The Love Of God' diamond encrusted skull which eventually sold for US$100 million. The value is almost entirely intangible and invented. (Ironically, 'For The Love of God' is perhaps an interesting comment itself on the idea of what is it that we actually value in art work.) Furthermore, while the actual number of people capable of paying for such relics will diminish, the values won't. I think the instruments will continue to be perceived as ever more desirable badges of exclusivity and icons of the history of popular culture.

It all depends on how they're made and what form of construction is used. I've had a Moses jazz neck move due to seasonal and ambient temperature changes to a greater degree than a well made wooden neck. The necks made using monocoque construction (hollow) generally tend to be the stiffest if they were made 40 years ago. Vigier, Status and Alembic (c/- Modulus) all made extremely solid necks back then. But Modulus had issues with their necks in the early to mid eighties (and again in the mid 90's) as did Status (a tiny number in the mid nineties) due to the phenolic fingerboards not being stiff enough. I wonder if that might be because the necks also weren't over designed any more as makers got more experience with using the material. Monocoque necks (if they're well made) have about three layers lining the mould. Graphite wrapped necks might have less but any decision will rest with the maker but they'll be stiff enough for sure. Especially if the fingerboard is nice and strong. I doubt there will be issues if the wrapped necks have a core made from a soft wood such as cedar, balsa or spruce.

He's a regular. There's a few like that. I think music is partially about communication and if the original video speaks to you then who are any of us to question that. However for me, there's a lot going going on and it changes rapidly. It's hard to interpret emotionally.

Hi peeps, We updated the site on Sunday Aug 14th and after waiting a while for the site to re-index itself (basically it tries to figure out where everything is again so you can find it) things seem to be working as expected. You might find a few new features including AI assisted functions for images and stuff. But if you find any bugs, please let us know below and we'll investigate.

Yamaha have been my favourite manufacturer for some time. When they do something well, they do it really well and really consistently. Second hand values are pretty healthy for the top notch kit.

That was a Moses neck from my stash. Carbon wrapped necks don't sound as bright as fully CF necks but they do have the same evenness and consistency. LIke I said, I think it's a nice compromise especially when the core wood is quite light.