molan

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

Another vote for headless here. For me, Status epitomise the perfect look for a headless bass. I've gigged with a Zon and Kubicki headless and the lack of the head and tuners etc is a Godsend on a crowded stage

http://www.ebay.co.uk/itm/guitar-/120831524685?pt=UK_Musical_Instruments_Guitars_CV&hash=item1c221ebf4d#ht_500wt_1140

Hearing that Carl Carlton track reminded me of this - the original, and far superior, Valentine Brothers version of Money's Too Tight to Mention: http://www.youtube.com/watch?v=LfkJ04tfYs4

Have just spent 2 hours playing obscure 70's funk and disco on this Ritter Cora: Some of these riffs I know really well but have never managed to get my fingers round them in the same way I can on the Cora. Makes it worth every penny to me

Vic Wooten was the first person I saw using one - I figured if it's good enough for him. . .

Damn but that Alleva Coppolo sounds fantastic in Paul's hands!

I've become quite friendly with Paul since being introduced via Nick Wells (Paul lives about 15-20 mins away from me). I think he's a fabulous player and a super nice guy. I've seen him playing, techically complex, Bernard Edwards lines whilst chatting away and showing me how Edwards used his thumb nail for some of those percussive sounds he got. He's a dab hand at Jamerson as well

I have a '72 P and a '73 J both of which have obvious old sticker marks and both of which look great because o them