ambient

I'm probably going to be the only person to vote 'other' .

ACS are pretty good.

[quote name='skidder652003' timestamp='1506342346' post='3378026'] Anathema on Saturday, never heard of 'em, mates got me a ticket... [/quote] They're really good.

Like others have said, try as many as you can. People make a lot of fuss about string spacing, for me at least it is not really a consideration. More important is the construction and quality of the wood. Yamaha build amazing instruments, as do Ibanez. Every Fender 5 string I've played have always left me a bit urgh. I once owned a USA 5 string Marcus Miller bass that was pretty awful. I'd save a little more and buy a used Overwater, or maybe try one of their budget models, which are really excellent for the price.

[quote name='la bam' timestamp='1506601822' post='3379852'] I think a lot of the aura and appeal of classic gear is it was directly telated to iconic bands, iconic music and an iconic time. All the classics from that era were played on that equipment and all our heroes used it. Todays music has very little in icons and iconic gear. Im not sure what todays youth will look back on and yearn for music wise? A laptop? A piece of software? A generic midi synth? [/quote] I think also, there's so much more gear around nowadays. Guys I like seem to have a different endorsement every other year.

There's a regular event held in Birmingham called the Seventh wave festival. They seem to hold 3 events a year. I saw Richard Barbieri in June, that was brilliant. His last few albums have featured Percy Jones on bass, he played some isolated tracks Percy's playing. This weekend there's an amazing singer called Tim Bowness, he used to be in a project called no man with Steven Wilson. He's playing Saturday evening with Colin Edwin from Porcupine tree. Tickets were only £7 at the weekend, regular price is just £14 anyway. Sunday there's an event featuring two guys from the BBC radiophonic workshop.

I often enter these things. I regularly get competitions emailed to me from TC Electronic, I always enter. After all, some will win, it won't be you if you don't enter.

I expect the main difference would have been the weight, especially with amplification. Quality might have been better too, we seem to have reached a point in time whereby we throw stuff away rather than get it repaired.

[quote name='Ghost_Bass' timestamp='1506531352' post='3379404'] Shared Google calendar (everybody has a smartphone these days) [/quote] I know a few people who don't, and one who doesn't even have the internet at home.

My main jazz band is an ensemble, 3 bassists, 2 drummers, 3 keyboard players, a couple of singers, 3 sax players, 2 guitar players and a few deps. Everyone is allocated a number of gigs through a 3 month period, these are sent around on a programme, with the date, venue and crosses by the name of each musician to show what they're doing. This is updated as new gigs come in. It works well, and is quite simple to operate, even for such a large ensemble.

[quote name='Happy Jack' timestamp='1506444191' post='3378808'] Sorry mate, can't agree with you on this. In my main band (Junkyard Dogs) the majority of gigs are got by me & Silvia working our tits off. The band's availability calendar is the 'Free' tab on the Lemonrock site: [url="https://www.lemonrock.com/junkyarddogs?page=diary"]https://www.lemonroc...dogs?page=diary[/url] All we ask the rest of the band is that they keep us informed through that page which dates the band is ALL available to play. If two visits, several pints, and some not very good over-priced food has finally got us to the point where the landlady has opened the her Event Diary and offered us dates, I am NOT about to say: "[i]Well give me a bunch of dates and I'll check which ones we can play, I'll maybe get back to you tomorrow[/i]." The only people who ever think that situation is acceptable are those who never bother to get gigs but leave it all to someone else. Harsh, but true. [/quote] I tell people when I'm not available, wouldn't that generally be easier? I should think there are fewer un-free days than free.

[quote name='Jecklin' timestamp='1506364586' post='3378266'] What is anyone's view on the fan noise from the unit? [/quote] That's my personal niggle with these small heads, it's mostly down to the quiet music that I play though. I had a Markbass head that drove me mad with the fan noise. Also someone leant me a tiny SWR head for a jazz gig a couple of years ago, that was awful.

Julian Bream and John Williams - together. Very nice and relaxing, beautiful playing.

Please stop tempting me with this It seriously does look an amazing piece of kit. Try before you buy too.

[quote name='lowdown' timestamp='1506333587' post='3377919'] Or Banjo strings.... Not sure if this is true or not ? [i][color=#262626][font=Arial, Helvetica, sans-serif]"Here’s another mind- blower: until guys like Ernie Ball came around, aspiring string-benders like Chuck Berry found a secret weapon—banjo strings. Yes, that ultimate rock tone that Chuck Berry got on songs like “Johnny B. Goode,” “School Days,” and “Sweet Little 16” was derived from 8-gauge or lower banjo strings."[/font][/color][/i] [/quote] It's probably right. I guess guys then, and now in many ways, have to use what's available to them. All of which has an affect on how they play, and ultimately how they sound.

I used to own an Italian CMD121P, my friend owned an Indonesian one. To me they both sounded identical, and the construction was identical.

It's the way he plays, it's his fingers, hands arms etc, possibly even the way he stands. There's so much more to sounding like someone than using the same guitar, strings, amp etc. Have you though of advertising on a guitar forum or in one of the many Chuck Berry Facebook groups?

Ooh, that's an interesting site!