Bassman Steve

Howard is in the process of making me a tort guard for a '73 P-bass and I can't wait to get it. Tort all the way!!

The Japanses 70's resissue is my favourite reissue bass. The build quality is first-rate and the neck is just wonderful. I have often thought of trying to swap my '62 sunburst reissue for a 70's sunburst. Enjoy the bass when it lands, it'll be worth it I promise.

I looked everywhere for a Buster recently and ended up with an Ampeg PF500 and 1x15 'flip top' cab. Not unhappy with it at all but realy wanted to keep it Mesa as I'm something of a fan!!

I think that bass players tend to be a lot more practical and down to earth about this kind of thing. I bought 4 old Fenders in about 1988 from the Bass Centre (ex-Entwistle P-basses - 1953, 1961 and 1962) and a 1966 slab body P-bass. The most expensive was the '53 (as you might expect) and it cost me £995. Fast forward to today and look at the length of time that Norman Watt-Roy's Jazz bass hung around while more expensive but earlier and more original basses got sold. I don't think bass players are quite as 'gullible' as guitarists - and quite right too!! There was an ex Darkness Boogie cab and some ex Coldplay stuff around recently. Not sure how they sold but the prices didn't seem much beyond the standard price.

+1 for Gotoh. I put them on my basses. They're a direct fit and I prefer to have the bridge grub screws sitting in the tracks to 'lock' them in place. That's just a preference and the OEM bridge is perfectly fine in all other respects (for me). Agree that Badass look just dire (same with Schaller) - however well they may be engineered.

Is it worse to say there are two missing from that picture?

Never too many Precisions anyway :-)[attachment=115333:DSCN0001.JPG]

103rd birthday of one Clarence Leo Fender today. All I can add to that is a heartfelt thank you for the music - or the bass to play it on anyway.

I know the WTF look well. I played in a Dire Straits tribute band and the drummer would do that whenever things deviated from the records. I could almost feel the laser beams burning into my back. I just ignored the tw@t.

Pub gig rig? Bass 400 and 2x15 - approximately £1900 23 years ago (plus £400 for flightcases). Big rig Bass 400 & Bass 400+ through 2x15 and 2x18 - I'm guessing around £5k (including flightcases). It gets me the sound I always wanted so good value to me. If your rig gets you the sound you want and you found it in a skip then we are equally happy in my eyes. Other folk will hate my sound, I dare say, but it's down to what you like and no-one else.

Maybe you need to get the choreographer to include you in the choreography so there's no danger! Either that or go wireless (which eliminates the problem and enables you to get closer to the dancers).

You can't have too much of a good thing.

I live near Pompey so not far away if that helps.

Pretty much agree with you Evil. Irrelevant for any music I want to play anyway (other types of music are available).

I use either a Pete Cornish guitar cable (I also have his speaker cables) or those made by ClearTone (same spec as OBBM it would seem). I got the Pete Cornish first and it immediately improved the balance of the sound. The ClearTones do the same job. The Pete Cornish speaker cables are incredible things and would survive a direct hit from a nuclear device I would reckon.

ご希望の方には、フジゲンカタログの送付もさせて頂いております。ご住所とお名前を書いたメモと円分の切手を同封し、下記までお送りください。折り返し担当より送付させて頂きます。 Christ, I wouldn't stand anyone saying that about me!!

If that's your era then more or less anything from the period. The band playing behind these artists was almost exclusively the same bunch of musicians. More from a historic perspective there's a great DVD called Standing In The Shadow Of Motown which features the surviving musicians and is an excellent watch and an object lesson in groove. Also, go with flats, as suggested. As soon as you get the right groove the whole thing comes together.

Listen to Motown - James Jamerson and Bob Babbit - and Stax - Duck Dunn. Tend to favour the Motown guys myself. Less is very much more but it's also critical just how you play that 'less'. It may not be your thing now but you'll get addicted (if the rest of the band are any good) as soul played properly is superb but it (like blues) is often played by bands that can - not bands that want to.