molan

I always think of the Ric as being a 'pick' bass. I know lots of people play them with fingers but when I owned one it just felt 'wrong' to me, and quite uncomfortable. If you're a fingerstyle player then you definitely need to try a Ricky first. Also, on the money front, pre-owned Rics are generally a fair bit more expensive than a Fender J. Obviously there a re lots of different models but a fairly stock used Ric is going to be £1,000 - £1,200 whilst a stock USA Jazz is more like £650 - £850.

[quote name='Prime_BASS' timestamp='1326051992' post='1491667'] plus another 40% for profit. [/quote] The USA price will already have some margin built into it - with the 500 selling at about £599 I reckon the 350 will be somewhere between £400 - £450.

[quote name='edster' timestamp='1326047037' post='1491571'] It's retailing at $499 on Aguilar's website which equates to about £325. [/quote] I reckon you can add about 25% to that price by the time you add shipping and UK VAT & import duties.

[quote name='dood' timestamp='1275560638' post='855877'] Actually, *I* kill strings very quickly too, especially at gigs. I love the 'new string' tone and find that after the first set, the strings will have gone dull, by the end of the night, dead! So, anything that can keep my hands dry, or keeps the sweat off the strings seems like a good idea to me. But then, I'm far more open minded than most and am not dragged down by fashion or what looks cool. It's utilitarian. I do utilitarian! (Well - with the exception that both of my Shukers are GORGEOUS looking basses ha ha ha - but, that was second to playability.) [/quote] Haven't you got a Rotosound endorsement Dood - if so then I'm impressed you can get a set to last longer than a soundcheck

[quote name='Immo' timestamp='1326014386' post='1490901'] That's pretty much hard to believe. [/quote] Here's his full message: "[color=#000000][font=arial, sans-serif][size=3]firstly an original 1972 Precision is worth £2k all day long, a 2004 ford focus with an engine that won't start fek all. If there has been a pot change so the bass still functions clearly without crackle then so be it, all instruments need maintenance etc, i wrote down the number i thought i saw and this isn't 100 % confirmed and nor are your idea's on value, just your opinion and not that i doubt of the other 300 people watching this item. Bid if you want it, if not then f*** off and buy an Argos catologue copy! "[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]Interestingly he has actually changed his description now from "original" to "good condition"[/size][/font][/color]

Update - just got my reply. Can't copy and paste via mobile bit started with: "firstly an original 1972 Precision is worth £2K all day long" And finished with: Bid if you want it, if not f#%k off and buy an Argos catalogue copy instead". This definitely feels like a few more people should ask 'serious' questions and see what sort of reply they get . . .

Scott Devine wears gloves lik these as well but his reason is because he has some sort of neural problem (I think) and the gloves help him to overcome this.

I love the fact that he's actually posted his abusive response on his listing as well! I've asked some more questions, it'll be interesting to see if he responds

Announced on Bass Player as well today http://www.bassplayer.com/article/aguilar-amplification-tone-hammer-350/14424 I quite fancy the idea of one of these for home or rehearsal use - I rarely wind my TH500 above 50% on the master volume and it might be nice to hear one of these heads at near to full whack. I have it on good authority that a dealer near me will have some in stock as soon as they are available in the UK. . .

I've gigged with a Bag End 1x10 in a small/medium pub & a hotel as part of a 7 piece functions band and it sounded just fine. Needed to be raised right up on a chair so I could get a really clear sound from it. These days I really favour the 2 x 1x12 route for giggs & a single 1x12 for reasonably loud rehearsals. I'm using an Aguilar Tone Hammer plus Aguilar Sl1x12's. If you want something light but decent 'heft' then these Aggie cabs are amazing. Just stupidly light for their size (which isn't the smallest of the modern lightweight cabs).

Looks like an affiliate site to me - built to generate traffic to other sites that they then claim commission from if a sale is made.

I appear to have struck early with the A of GAS having already agreed my first deal (possibly even 2!) for 2012. An Alleva Coppolo RA4 in nitro candy apple red with maple board, tinted neck, blocks & binding should be headed my way soon. Quite close to agreeing another deal that will see a lake placid blue Celinder Classic coming in as a '63 Fender P moves out. A Kubicki also left on 28th Dec and I have three other basses up for sale at the moment so definitely some 'juggling' on the horizon this year Currently still living my Ritter Cora and might consider a more 'basic' version for gigging. Very happy with the Tone Hammer & SL combination so no amp GAS at the moment

[quote name='NancyJohnson' timestamp='1325195851' post='1480925'] Blimey, Jocelyn Brown. Years ago I owned a half-share in a studio...it came with loads of 1" masters. One of the masters was full of vocal takes Jocelyn Brown recorded for some road safety thing. It was hours of her singing, 'OK kids, watch out!' or 'Oooh, look left!' or 'Oooh, look right', 'Walk, don't run!' and so on. The raw vocal ability knocked me out. We gave them to this guy who had a studio elsewhere and amazingly he sampled everything and did a dance track with the samples. There were a few 12" pressed. I'm sure I have it in the attic. P [/quote] She's been well sampled over the years

I got a few nice gig tickets Jocelyn Brown at the Jazz Cafe Dotfunk (with Paul Turner) also at the Jazz Cafe Tower of Power at Koko Camden here we come

So here's a little update on this build as it's going to be updated by Wes sometime in the next month or so. Wes has managed to put together a nice flamed maple neck with a dark brazilian board, clay dots, bone nut etc. which should be a little closer to the original spec than the current Fender '62RI. He's also going to try and follow a little more closely the wear patterns of Herbie's original - not a slavish copy just something that looks similar and more closely matches the body. He was also hoping to get his hands on Herbie's original bass as well to get a really good feel for the neck

I think I've seen this bass on EBay a few months back - if it wasn't this one it was certainly very similar. The thing I really remember are those block inlays. If it is the same one then I contacted the buyer about it but he was wary of shipping down south

I once headlined at a gig about as far away a you could get from our local area but still classified as London. We thought 'why not, it's a headline and a nice venue'. However it was so far away that none of our regulars wanted to trek right across London. We tipped up early, sound checked, made friends with the bar staff, manager and sound man and waited forthr other bands to arrive. First up was a full on goth band who arrive in a hearse with a huge entourage of followers. They could barely play their instruments, didn't know how to set up their brand new amps etc. Then came a funky little power pop band, also a bit patchy technically but had one good singer. Very cocky and moved some of our gear around without asking and demanded extra long sound check. Anyway - both bands were local and rammed the place. Both were a pain in the arse to work with and one of them had a row with our guitarist because he wouldn't let them borrow his guitar as a back up because the other band 'always broke strings'. Goth band were awful but their rent a crowd loved them and most promptly buggered off as soon as they finished. Power pop band had moments and also had a partisan crowd. They tol their fans to leave as soon as they finished because we'd been so 'unreasonable'! Net result, by the time we were due to go on the room had about 8 people left plus staff. Of the 8 it turned out that 6 were regulars who always stayed late as the bar was open until 2am. We ended up taking requests from the 6 drunks, the sound man and the bar staff (all of whom were up on the bar dancing at one point). Manager paid us happily and invited us back but we politely declined Vague moral of this is that you really need to check all the details about the other bands, their level of support etc and also bring as many fans of your own along as you can

I fell in love with my S for a while but then had some serious Gas for a deliciously curvaceous B and the S just had to go