Kiwi

I asked Lee Sklar whether he charged multiples of scale like, say, Will Lee. He said he doesn't. Nile Rodgers splits every collaboration 50/50 regardless of the contribution. If you look at what Nathan East has managed to work out...a million dollar home plus other properties...persumably from the success of Foreplay's touring and album sales as well as his sessions and wife's occupation as a paeditrician...he's done extremely well for himself. We used to have Kylie's keyboardist from her Fever tours dep with us and he said his pay was pretty much the same as if he was in a function band. Just that he got paid for gigging every night rather than once a week. I think its hard to tie down earnings, there are so many different potential sources from merchandising through to spin off work and marrying into the band.

We also covered the links between Guitar Centre and Fender in the [url="http://basschat.co.uk/topic/247397-fender-in-trouble/page__st__210__p__2647918__hl__fender%20corporation__fromsearch__1#entry2647918"]Fender in trouble thread[/url]. It's all a bit incestuous.

The band I was part of used clever SEO on our website to keep us top in search results. We took bookings based purely on the website and had enough saved from booking deposits to purchase a PA system before we played our first gig.

John Entwhistle had a go at that relicing thing a while back. I think he got a bit carried away, personally.

[quote name='John Schoen' timestamp='1422611174' post='2674525'] Ulas is new here. There is a group culture or herding instinct on Talkbass that we luckily don't have here. Please give him a break, he is just very enthusiastic about Maruszczyk basses. [/quote] I agree. [quote name='RhysP' timestamp='1422616880' post='2674612'] This is the UK - we treat enthusiasm with suspicion. [/quote] You reminded me of reactions to AlexClaber's enthusiasm!

A Toby Pro 5 or Status Groove 5 would be my suggestions. The electrics in the Toby might benefit from an upgrade but both are very well made.

[quote name='shizznit' timestamp='1422226790' post='2670191'] My current rig is my fav. EBS TD650 into an EBS Neoline 210 and 212. Very flexible setup. [/quote] If I didn't need a tiltback set up, this is what I would have gone for. I've already answered this question on a previous topic. http://basschat.co.uk/topic/252550-do-some-amps-suit-certain-types-of-instrument/page__fromsearch__1

There's a clip on youtube of a dutch guy doing something very similar. I can't find it though.

[quote name='Dan Dare' timestamp='1422211357' post='2669909'] Think it depends on the instrument. I find a high mass bridge gives clearer noting especially at low frequencies but can rob an instrument of warmth and 'bloom'. [/quote] I agree. The key is stiffness. If the bridge is low mass but the bass is otherwise very rigid (e.g. through neck and carbon graphite), a high mass bridge won't make a huge amount of difference. But if the instrument is old and fragile, with a poorly routed neck pocket and light wood, a high mass bridge might provide a more secure, less dampened point from which one of the string can vibrate. Of course, you might LIKE the sound of a half dead bass...many do.

Difficult to argue against the jazz bass being a LA/NY standard in the past...primarily due to the expectations and pressure from sound engineers. I find the sound a little uninspiring though, with the exception of the Celinder J Update 5's I've played. Alembics were the preferred standard in Nashville for a long time though.

It's great to see Wunjos getting some recognition for going the extra mile. I slip in there occasionally incognito just to see what they've got hanging on the walls. Great move on the Tak also, I had a look at them over Christmas. They're very sexy looking for an acoustic but not cheap.

It's easier with lighter gauge strings.

My steinie started off life as a four banger but the factory converted a number of them to five strings before the wide neck model was introduced. String spacing is 13mm at the bridge which is playable once you get used to it.

He's good isn't he?