molan

I kinda like it - would definitely gig with it if I could afford it Price seems like a bargain for Rudy's - they have a $54K '69 Strat up for sale at the moment. . .

Some of this is very obvious but it's worth a read for people new to gigging - or those who don't gig that often & could do with a 'refresher' Main link is here: http://www.musicradar.com/tuition/guitars/playing-a-gig-kit-list-and-essential-tips-566304 Copied & Pasted below: [b]Whether you're a guitarist who's taking their first step into performing on stage or a grizzled veteran of the live circuit, we're here to help you out.[/b] We'll start by providing you with a checklist of everything you should take with you; then we'll give you the essential dos and don'ts for when you're soundchecking and playing the gig. [b] Stage survival kit[/b] Talent aside, preparation is the real key to success – and your gear is a big part of that [b]Guitar tools[/b] Pack string cutters, pliers for tightening, and Allen keys to tweak your action and vibrato system. [b]Gaffer tape[/b] Fix your mic stand, setlist, cable, van exhaust, leaky shoes. [b]Spare guitar and strap[/b] Tune it up before you go on. Your fans will escape to the bar if you hold things up changing a broken string mid-song. [b]Spare strings[/b] Strings aren't immune to breaking in soundcheck – spares are essential. [b]Torch[/b] It gets dark onstage: get an app for your smartphone and you won't have to worry about forgetting your torch. [b]Tuner pedal[/b] Never forget this. Get the best you can afford: there is no excuse for starting out of tune. [b]Pen and paper[/b] Have these on hand to jot down your setlist. [b]Amp backup[/b] If you can't take a spare amp, try a modeller with cab simulator that can be DI'd straight into the PA. It's not ideal but it's an option if another band on the bill can't help you out. [b]Batteries[/b] You'll need some spares if your power supply goes down. [b]First aid[/b] You don't want to bleed on your fans or let a headache ruin your big night – pack some plasters and painkillers. And the singer's secret weapon: throat pastilles. [b]Blu-Tack[/b] If your pick tends to fly out of your hand mid-song, stick spares to your mic stand or guitar so replacements are always at hand. [b]Electronic cleaning spray[/b] A quick fix for crackling connections. Make sure it's in your gigbag. [b]Spare pedal[/b] Get a budget spare for your essential pedal. For the super- prepared, a multi-effects unit could save you from serious pedalboard problems. [b]Earplugs[/b] It might get loud – these can increase the clarity of onstage levels. [b]Cables[/b] Pack instrument, patch, speaker, XLR and daisy chain cables. Don't buy the cheapest: quality lasts and you always need more cables than you think. [b]Picks[/b] Minimise the chances of losing one from sweaty mitts by packing picks with grippy surfaces. [b]Mains adapter[/b] Never assume the venue has enough power points or extensions. It's worth investing in your own multi-socket extension adaptor that's RCD- equipped, with surge and overload protection. [b] The Soundcheck - Take the time to get to your band's sound right and then you can focus on the fun part[/b] [b] [b]Do…[/b][/b] [b]Learn the names of the sound engineers: [/b]treat them with respect and thank them at the end of the night, even if they treat you like an amoeba. [b]Set your amplifiers to sensible volume levels onstage.[/b] Moderate levels allow the engineer to have more control over the overall front-of-house balance meaning that monitors don't need to be pushed to levels where they begin to feed back in order for singers to hear themselves. [b]Turn your amp on at least a few minutes before you start[/b] – it lets your valve amp warm up a bit. [b]Tune all your guitars[/b] (even your back- up) again as close to the start of your set as possible and make sure they're on hand and on stands. Things have a tendency to get knocked over in the heat of the moment. [b]Choose a song for soundcheck that will test the sound mix[/b] in the best way for all instruments in your band. [b]Listen carefully to the mix [/b]of instruments coming through the monitor speaker wedge – can you hear yourself and the rhythm section clearly to keep time? [b]Check as many of your sounds as you can:[/b] clean/crunch/distortion channels all need to be checked so they're at the right level. Ditto effects. [b]Talk to the other bands you're playing with[/b] on the night and find out what backline will be shared. While it's common for a headline band to let support acts share drum shells and stands, it's not for breakables like amps. [b]Be tuned-up and ready[/b] to take to the stage when the sound engineer needs you. [b] [b]Don't…[/b][/b] [b]Drink alcohol[/b] excessively before. It won't make you play any better! [b]Assume you'll be able to share gear [/b]and turn up with minimal kit. It should be easy to get contact numbers or email addresses for the other acts on the bill from the promoter or the venue, and it's common courtesy to ask first. [b]Crank your volume if your amp is being mic'd through the PA[/b] – you don't need a very loud onstage volume. Let the sound engineer get the levels. And you may not need your cab or combo front-on to the audience if it's being mic'd – angle it in a position best for you. [b]See soundcheck as a rehearsal or jam.[/b] One or two short songs should provide more than enough opportunity for the sound engineer to set up a decent mix. Taking liberties won't do you any favours with the other bands on the bill. [b]Leave your pedals running with the input plugged in[/b] for long periods of time ahead of the gig if you're using nine-volt batteries with your effects pedals – it drains the power unnecessarily. [b]Get bogged down with your onstage sound if you're playing outside.[/b] Put even more trust in the sound engineer's front of house mix – the nature of the external environment means your concern is playing in time, and the sound engineer's is making sure the audience get a good mix. [b]Play blazing lead lines when the sound engineer is tweaking the bass drum sound[/b] – he/she won't appreciate it. [b]Lose sight of the bigger picture[/b] – it's about attitude as well as the rig you're setting up. And remember that you get back what you put out. If you're confident, professional and polite, that's what you'll get back from the engineer and other bands. [b] The Gig - There's more to impressing the crowd than your blazing chops[/b] [b] [b]Do…[/b][/b] [b]Write a setlist for the show.[/b] Unless you're playing free jazz, you'll need a list of the songs you're playing and the order in which you're playing them. [b]Demand the audience's attention.[/b] The general rule of thumb is to open with a song that makes an impact. [b]Take a drink onstage with you[/b] – especially if you're a singer. You may be surprised to find your throat can get as dry as the Mojave desert onstage, and you'll soon be begging for water. [b]Realise that things can go wrong[/b] – it's just part of gigging. Have contingency plans in your head in case the worst happens, including an instrumental piece the rest of you can play to fill time if one of the musicians has a problem they need to sort. [b]Look people in the eye while you're performing[/b] – engaging with your audience is more than just about sound. [b]Signal to the engineer[/b] if you need to communicate with the desk mid-gig: for example, if you can't hear your guitar clearly through the monitors or you're too loud. [b]Relax, listen to the sound engineer and remember that, ultimately, it's about the audience, not the band.[/b] Nobody cares that much about your tone except you, so stop stressing about it. [b] [b]Don't…[/b][/b] [b]Amplify your guitar when you're tuning up.[/b] You should tune quickly and silently between songs. Buy an electronic tuner with an easily visible display. The audience don't want to hear you tuning and it gives a sloppy, amateurish impression. [b]Forget to say the name of your band between songs.[/b] If you're a support act and don't have a banner, you can't assume anyone knows who the hell you are [b]Allow long silences between songs.[/b] While the guitarist or bassist tunes up, it gives the singer an ideal opportunity to crack a joke or, if they're not a natural raconteur, fill the silence by plugging the band's website or merchandise. [b]Mess with your amp settings during the gig based on the monitor speaker mix[/b] – it isn't a reflection of what the audience and engineer can hear out front. [b]Take forever to pack up your gear.[/b] Unless you're the headline act, the next band want to get onstage before the audience drifts away and loses interest. There will be plenty of time for excessive alcohol consumption and chatting up groupies once your equipment is off stage. [b]Be sheepish with the audience.[/b] Forget apologetic amateurism and smack them right between the eyes with your set!

They've been selling at under £300 for ages in the States and there are some 'friendly' US dealers who are more than happy to ship to UK in tax efficient ways. I've also heard of someone using the US pricing to negotiate a deal with a UK retailer to get one new for under £300 (but I'm damned if I can remember who it was!). Definitely quite a few dealers offering very good package deals for a head plus cab(s) too. The 750 doesn't seem to be moving in price much though

Are they planning on offering rebates to all the customers that spent £500 on RH450's only to discover they are now for sale at £275 brand new?

Standard issue on many Foderas - not least the Wooten signatures. I have them on my '86 and love them

[quote name='voxpop' timestamp='1351194500' post='1848616'] I manage the Weybridge store of Sevenoaks. Always a good deal for fellow Basschatters. http://www.sevenoakssoundandvision.co.uk/products/category/Amplifiers/1765.0.4.3.46510.46510.0.0.0 Let me know if we have an amp that is of interest. [/quote] Big vote of confidence from me for Marc - helped me choose some speakers for a small music room and got me a great price as well

[quote name='thisnameistaken' timestamp='1350993800' post='1845923'] I'd forgotten about that Godin, I like the look of those. [/quote] I've played the PJ configuration ones and thought they were very nice. Stupidly good value for a Canadian built bass. Store price is between £750 & £850 for the 2 pickup version. The 5 string ones will be in the country soon as well

From the Distance Selling Regulations: Returning goods Only if it is covered in the contract and the written information can you require the consumer to pay for the cost of returning the ordered goods. You are not allowed to make any further charges, such as a restocking charge or an administration charge. If you do not include these details in the required written information then you cannot charge anything. You can never require consumers to pay the cost of returning substitute goods. If the goods are faulty or do not comply with the contract, you will have to pay for their return whatever the circumstances. The most important thing in this is that you have to contact them within 7 days and state the reasons for returning. If you miss the 7 day deadline it can get more complicated. If they are sending unchecked items straight from a warehouse then I think they should state tis in the terms somewhere. However, I'm not 100% sure about this. A lot of people send things out without checking them and, in fact, a lot of customers refuse to even accept goods that have been previously opened. Personally I'd always expect a guitar to have been checked over and, from a decent shop, set up properly so it's playable etc before I received it.

[quote name='Stacker' timestamp='1350895306' post='1844646'] Snappy, growly '63 (or '64) any day. Don't like gloss necks on basses. [/quote] The '64 has a gloss neck refinish (unfortunately). Ttrued them all through the little MarkBass LMII plus MB 210 today and it made quite a difference compared to the B15. The '71 wasn't really at the races without a lot of bass boost. Neck still feeling nice and getting used to those tiny mandolin frets. '65 a bit livelier and brighter, really nice all round sound with the extra edge coming from the modern MB combination (in the interests of comparison, and my sanity, I kept all amp controls flat!). The '64 began to sound a trifle flabby in the low end. Still very nice but not as good a match as the B15. The gloss neck and jumbo frets not as easy to work with. '63 just killed . Still had a great low end punch and plenty of snarl without ever sounding thin or brittle. This one definitely seems to be the overall winner in terms of tone and playability for me with the '65 now edging ahead of the '64.

[quote name='RichF' timestamp='1350749234' post='1843045'] Blow a guy's fantasies why dont you! [/quote] It's ok, I've had the 'baronial tower' fantasy a few times but unfortunately all my spare cash has gone on guitars, amps, cars and bikes

I tend to use 40-95's, usually Fodera Wootens or Elixir - I like the lighter gauge E but anything thinner than a 40 is too light for me.

I responded to an ad from a guitarist who said he'd send me the cords to his songs. Based on the songs I think they would have been faded orange, worn through around the knees and too short - revealing his fair isle thick woollen socks. . .

Not that I'm trying to defend him but there was a time when all Rickies with this body shape were called 4001's even though the name had been changed to 4003 years previously. I even remember retailers displaying 4003's as 4001's for a while. Mind you, this was about 25 years ago, lol

Of course, there's always this one to tempt you. . . http://www.ebay.co.uk/itm/TPP-Fender-Rawhide-Custom-Telecaster-Tele-Brazilian-Hide-top-Hardcase-/300784922702?pt=UK_Musical_Instruments_Guitars_CV&hash=item46082db04e

[quote name='risingson' timestamp='1350608286' post='1841288'] That sea foam green '63 is mind blowingly beautiful! [/quote] Possibly my favourite ever Fender colour I quite like it from this angle:

The Carvin BX500 is pretty cool. 300W at 8 ohms & 500 at 4ohms but will also go down to 2ohms (where it's limited to 500w). Reason for stating this is that it means you can run a single 4ohm cab for smaller gigs and get the full 500w but also have the option to add a 2nd 4ohm cab for bigger gigs - no extra power but the additional air movement will definitely make it feel louder & give more throw etc. Not sure about portuguese pricing but the Carvin is about £350 over here - it's also USA made as far as I know (and it doesn't have that rep, undeserved or not, for cutting out like the PF series does).

[quote name='RichF' timestamp='1350743371' post='1842946'] if the geezer has £1500 and wants to spend it on something lovely then Barrie has just pointed him in the right direction - Ampeg B15N. Oh yeah! Then it begins. Only problem is you need a fcuk off good bedroom to deserve one o them bad boys. I imagine Molan Heights as a trendy loft or baronial mansion, with its vintage fenders, Foderas and Ritters. Maybe we're OK cause "Pete Bigmatch" sounds like a guy ready to do business. [/quote] Sorry to shatter your illusion but Molan Heights is an end of terrace council house on a slightly run down estate (albeit in a nice area) It is entirely owned by us, without a mortgage, though

Ok, so this is a bit of a 'left field' answer but if you want to spend up to £1,500 for something to use at home then you could try and hunt down a lovely old Ampeg SB12 or B15N combo: http://www.andybaxterbass.com/details.php?id=188 http://www.andybaxterbass.com/details.php?id=332 http://www.andybaxterbass.com/details.php?id=316 These are absolutely lovely things to have in your home and just ooze mojo & class - check out some of their amazing history of use on so many classic recordings. I have a pristine '67 and I love it Highly unlikely that it's going to leave my house very often but I like it so much that it doesn't really bother me - every time I walk into my study it makes me smile, how many amps do that every day?

I wouldn't like to play his "real Mexican Fender Tele" if this one is better than it. . .

I often use the full boxed set as my 'keep me awake' music for long distance journeys in the car The only, slightly, annoying thing is that the 5 albums are on 4 CD's so I'm not hearing them exactly as they were planned, lol.

Interesting that the most battered looking bass is getting the most love from the BC collective - looks like we are still rather fond of a genuinely old & abused beauty

A family of Fenders gathering to watch telly together, big daddy '63, lovely wife '64, evil uncle '65 and little youngster pimped out '71. . .