BigRedX

If only it was rack mounting and fully programmable...

[quote name='hiram.k.hackenbacker' timestamp='1456182894' post='2986463']...if you were given the choice of one new (to you) bass that there was a little bit of pressure on you as being a keeper, then what would it be? [/quote] That's a difficult one. I'm not really bothered about having a YoB bass and besides no-one was making basses back in 1960 that I'd want to be using now. Also having had a very serious clear out of all the basses that I've bought over the last 15 years and don't really use, I'm actually very happy with the few that that I've kept So... Either get Warwick to make me a custom shop version of my MiK Starbass with the few little niggles I don't like about mine sorted out - mainly doing something about the horrible paddle-shaped headstock so it is more in keeping with the rest of the design of the bass, and then having it finished in sparkle flames. Or... Another Gus G3 exactly the same as my black one, but with a few more pickup switching options, and a more flamboyant finish.

To me the apparent "loss of venues" looks like inertia on the part of the bands who find that the places they used to play have gone and they don't seem to have to drive to go out and find the ones that have replaced them. As I said in the post earlier in this thread, the venues that were active in the 80s when I first moved to Nottingham are not the same venues that are putting on gigs now. And having thought about the bands that I was in previously, the venues that we were playing out of town (with just a single exception) are not the same venues that The Terrortones play now when we go to those same towns/cities. And why should they be?

I've got SD mini humbuckers on my custom Fretking Esprit. They sound great to me.

As others have said don't bother with a reserve price - just start the auction at the lowest price you are prepared a accept for the item. Also No PayPal for collection - cash only. I'd also add that by having collection only you are seriously limiting your potential market. Maybe living in London it won't be such a problem but for me the whole point of using eBay is that I can advertise what I have for sale to a world-wide audience.

[quote name='keefbaker' timestamp='1455890674' post='2983351'] How does look affect your bass? [/quote] Massively. I would never be seen playing a bass that I didn't love the look of. And IMO most basses sound perfectly decent within a band mix, so as long as it wasn't uncomfortable to play and the sound had some life to it, I would be perfectly happy if I thought it looked great. I haven't voted because I don't think any of the options adequately reflect how I feel about the first two basses and the poll won't let me vote in only one category. Out of the three options I'd probably happy with the last bass provided they were they right sort of skull inlays.

If you are looking to keep the maximum possible re-sale value for this bass then anyone who is pedantic enough to want original pots will probably also want original un-altered pots and will most likely be unimpressed by the fact that at one point the original pot as been swapped out, so even replacing the changed pot with a working one of the correct year will not satisfy them as the solder connections will no longer be original. In that case your only option would be to replace the whole of the electronics from the pickup to the output jack with a period correct unaltered set from another P-Bass. Alternatively you could leave the bass as it is with the new working pot and keep the original faulty pot in case you ever want to sell the bass.

I like the way it says "Moserite Of America" on the headstock, but has "Made In Japan" on the heel...

[quote name='Lw.' timestamp='1455488675' post='2979615'] Music brand related clothing is never cool. Wear a band T-shirt if you must but preferably only on Friday's & even then its still debatable. [/quote] This x1000.

[quote name='largo' timestamp='1455448220' post='2979106'] Thanks for the replies, I can't replace the strips as I would need to drill out the rivets and then redo them. I don't have that sort of kit, unfortunately. I'm going to try drilling a single hole, punched a guide hole already so keeping my fingers crossed. Unless anyone else has any suggestions. Cheers again for the speedy replies. [/quote] I had a similar situation many years ago with a rack unit, and was able to replace the rivets on the old rack strip with nuts and bolts on the sliding strip - all I needed was a drill and suitable metal bits to drill off the rivet heads and then drill through the new aluminium strip to take the bolts. About 30 minutes work in total and it gave me a lot me flexibility about mounting the gear with regards to spacing for ventilation.

Replace the rack mounting stops with [url=http://www.adamhall.com/en/ah_19_Parts_6162_-_Sliding_Rack_Strip_System_with_rubber_Insert_aluminium_90_U.html]these sliding versions[/url]. Then it doesn't matter where the mounting holes in the equipment is.

What are you going to do about the frets when they wear out?

Why do you want to refit the original pot? Is a vintage bass? The most common reason for pots to fail is because the carbon track becomes worn, and if this is the case then it will need to be replaced, which would involve opening the pot up. This will be noticeable no matter how skilful and careful the person doing the work is and will still result in a non-original part. If you want to restore the bass back to all period correct parts you are better off looking for another pot of the correct type and age that is still in full working order.

Second hand Roland GP8. Effectively 8 Boss pedals (wah/auto-wah, compressor, overdrive, distortion, phaser, EQ, delay, chorus/flanger) in a programmable 1U rackmount unit. All the effects except the delay and chorus/flanger are analogue. You do need the FC100 MkII foot controller and an expression pedal to get the best out of it, but it does allow all the effects on simultaneously if you have a sound that requires it. Also has an external loop between the EQ and delay sections to allow more routing options. Even has rudimentary MIDI. Built like a tank. Getting on for 30 years old and still going strong. I'm on my second one only because I sold my original GP8 to a guitarist I was in a band with and when the band split up realised that I needed to get another one. Not to be confused with the seemingly more versatile GP16 which sounds rubbish.

Used in the way that it was originally intended as a showcase for new works it's a great idea. We've used it in the past to host private links to review copies of our releases, which certainly saves on bandwidth from our own site. However they didn't adequately police what people were unloading, and suddenly found themselves hit for royalty demands for hosting and streaming copyright works. I believe that they have recently come to some agreement with the PRS which may well be the root of the current financial troubles. From what I've read they have no-one but themselves to blame.

For songs that will be presented to a band I never record anything when I'm at the writing stage as it tends to set the parts in stone too much. If I can't remember the part I play (most likely the bass) then it probably wasn't good enough in the first place. For the other parts I might have ideas but I would prefer the other musicians to put their own twist on them rather than slavishly copying me which is what tends to happen IME with recorded "demos".

[quote name='Grangur' timestamp='1455196412' post='2976913'] When was this? How old were you? I can imagine that if you're 16-18 and half the class at school are looking for a band who'll gig their 18th Birthday for free, or for free beer, you can get away with it. Iike Sausage, above, I'm 56. I've never gigged. I started bass when I was 50. My repertoire is negligible. Most bands expect a 56 year old to be seasoned musician. It's fine thinking you can busk through with roots and 5ths, but unless you can get the right genre on the play-list you'll struggle to make covers sound right, surely? You may be ok with 12-bar blues, but funk is going to be something of a challenge. My day job has me getting up at 6am and I don't get finished until 8-9pm some nights and I can't plan when those nights are going to be. So rehearsals are always going to be at weekends; when most bands want to be gigging.... now it's me feeling like I'm going no where! And that's why I play weird stuff (for a bass player) at home. [/quote] I'm 55 and my repertoire is still negligible. I can play the 20 or so songs that the current Terrortones set is made up from, and right now if I concentrated very hard might be able to busk my way through another 20 or so of the hundreds that that I've learnt (or written) over the past 40+ years that I've been playing. However unless the music was extremely technically challenging I'm sure I could come up with something half-way decent in a couple of goes jamming with a new band. Also even though I've been playing for a long time I'm still at best a technically average player. I'm sure that a lot of people doubting their abilities in this thread can far outplay me, and so if I can be in a good band pretty much anyone can!

Are you in a band? If not join one now!

Inspiration comes in lots of different ways - a baseline, guitar riff, sequence, synthesiser sound etc. I'll then take that inspiration and work on it until I have at least a verse and chorus idea that I like. I'm lucky in that I have a great vocalist/lyricist/drummer as my song-writing partner and we bounce ideas off each other. Normally we'll come up with at least a couple of song ideas every month that get presented to the band to work on the arrangements, although we usually have a pretty good idea of what we want the other instruments to be doing before we get the whole band together.

[quote name='bertbass' timestamp='1455112739' post='2976011'] Or, you could just buy one. [url="https://www.studiospares.com/Microphones/DI-Boxes/Palmer-PAN-01-Passive-DI-Box_602860.htm?CAWELAID=120173110000146033&CAGPSPN=pla&catargetid=120173110000154407&cadevice=c&gclid=CjwKEAiA3Ou1BRDso5XyhduuwFASJABP3PED2MF679pRXvdSk2t7gjHPJoVhcvg_9FJcJs0dCyo9XhoChkrw_wcB#rtabs1"]https://www.studiosp...hkrw_wcB#rtabs1[/url] [/quote] Does that have the correct attenuation for feeding a speaker level output? [url=http://www.emosystems.co.uk/Products/Passive_Direct_Injection_Boxes.html]These from EMO definite do[/url].

Come on full pelt, all guns blazing and carry on like that until the end of the set. Pause briefly only to tell the audience what the band is called and that they can buy merch off us after the gig.

[quote name='Leonard Smalls' timestamp='1455041227' post='2975349'] Dep? That's unlikely, but doesn't necessarily mean we won't use another guitarist, or flute player,or theraminist; their instructions would normally be something along the lines of "this one's funky, in Eb (as the singer plays an Eb sax) apart from the bits that are in F#, we'll try and remember to give you a nod, but just keep it that bit crazed, and you can wear this codpiece and platform boots". But they'd only be a 1-2 song guest. Last gig we were all clergy, the guitarist who'll be missing is the foreground bishop in the cowboy hat... And there's no covers, so the audience won't know what's coming next! Only problem with doing more programming is that it restricts us; at present we've got 3 songs with backing. In the past we'd jam a song for 30-40 minutes if the crowd were enjoying it. 4-5 hour gigs were the norm back in the 80s! [/quote] Given all that info I wouldn't worry. Do the gig without him. Don't bother adding anything to the programming if the backing is only used on some of the songs. The only people who might notice there's someone missing will be his friends.

[quote name='Bilbo' timestamp='1455049379' post='2975486'] No brainer [url="http://www.amazon.co.uk/Mr-P-C-Chambers-Popular-History/dp/1845536363"]http://www.amazon.co...y/dp/1845536363[/url] [/quote] Alternatively any of [url=http://www.amazon.co.uk/s/qid=1378815985/ref=sr_st?search-type=ss&index=digital-music&redirect=true&field-keywords=Dick+Venom+%26+the+Terrortones&rd=1&sort=salesrank]these[/url] ;-)

I think it depends on the band and their audience's expectations. Covers bands unless the missing musician is a well-know name can easily get away with a suitable dep. Originals bands need to think a bit more carefully, especially if they have an image that needs to be maintained. IME deps can be a bit funny about being told how they need to look even it's something fairly straight-forward like "wear black, no visible brand or band logos and no trainers". However, if the band is already using programmed backing then it shouldn't be too difficult to add the missing guitarist's parts to it. I'd probably go this route rather than get a dep. Besides you've got plenty of time between now and the gig to try it out and make sure that the rest of the band are happy with the solution.

Very obviously "SF Sorrow" by The Pretty Things, but you could also include their subsequent album "Parachute" which had an Urban side and a Pastoral side. More modern concept albums should include the first two offerings from Mansun - "Attack Of The Grey Lantern" and "Six".