4000

£870 for a P body refin? Blimey. Limelight all the way for that money. Nice to hear about David Wilson, always handy to have refinishing options.

My doctor said he wouldn’t touch a potential op with a bargepole, or words to that effect. I decided that unless it became essential I would try and plod on. I do worry though, particularly given I also have prolapsed lumbar discs which affect the nerves in the lower half of my body, and spinal stenosis.

Isn’t it Tasmin Archer? I used to really like that tune. I seem to remember some comment once about Carl Douglas and Kung Fu fighting, him being a one hit wonder. IIRC his response was something along the lines of “at least I had one, which is more than many can say”.

The bassist/singer married Liv Tyler IIRC. He probably had other, more interesting things to do!

My favourite riff of all time. Epic.

The thing is with “pick tone”, it can be a million different things. I have loads of different picks and they all sound different, even before you start changing the angle of attack, how hard you strike the string, etc. I remember many years ago I was playing some fairly technical bass in a guitar shop and one of the assistants, who had been playing Teen Town shortly before, came over and asked “how are you playing that?”. I just held up the pick. He couldn’t even tell I was using one!

Me too. Let’s face it though, particularly in the case of bass players playing with plectrums, a fair percentage of musicians (including many bassists) seem to think the same! I learned to play with a plectrum first and foremost and it has saved my bass playing life. The prolapsed discs in my neck affect the nerves in my arm and make a lot of fingerstyle things that I used to be able to play very difficult, if not impossible, for me. If I’d only played fingerstyle, I’d now be incapable of playing many of the bass lines I’ve written over the years. I remember when I was starting, a more experienced mainly- fingerstyle player told me to stick with my plectrum playing as it could become my “thing”. He’ll never know how prophetic that was! Oh, FWIW, I had an (admittedly exceptional) Epi Les Paul Custom Plus for awhile. For some reason it was chambered. It remains one of the 3 best sounding LPs I’ve ever played, and I’m an LP nut. It cost £320 used. The other two were well in excess of £2.5k. I sold it because I thought I needed the real thing. Wrong! Admittedly the hardware was ropey and the finishing a bit iffy, but it sounded fabulous. I wish I could get it back!

I’d love to hear what the 10 sounds like compared to the One10 (I have no use for or interest in the tweetered cabs).

Pretty much the same with us. One of the band members, who has got rid of his CD player, insists it’s pointless to have cds. And yet every pro artist I see is still selling them at gigs. The main problem these days is funding them!

Every Jazz I’ve owned has been noticeably heavier than any Jack I’ve played.

I’ve played loads of Jacks (and owned one) that were all lightweight, so I’m surprised at this too.

I’ve seen the 2 for sale with the peeling tolex but assumed it wasn’t common. I much prefer my One10 than the Aggies I used to have. Absolute night and day. I’ve tried loads of Aggies and just don’t seem to get on with them at all.

I’ve a One10 since not long after they came out and my tolex hasn’t peeled. Is it supposed to be common? Mine’s a wonderful cab. So wonderful I want another!

2 of my 3 4 strings have 16.5mm spacing, the other being 17mm. 16.5 is my preference, but I mainly play with a plectrum. Its really difficult to say what you should do, as everyone is different. You may find you get used to the spacing and extra string, or you may never get used to it.

I’ve never played Mustang Sally. And I won’t. Ever.

I have fairly broad tastes, but things that jump out that I don’t like are pale maple necks, cold-looking metallic finishes (LPB doesn’t count, neither do sparkle/metalflake jobbies, all of which I love), mother of toilet seat anything (except on real 60s-esque weird stuff)......not a fan of red (unless it falls into the sparkle/flake category), or 3 tone sunburst. Not keen on gunmetal coloured hardware (proper name escapes me; been a long day). In fact a bass with a pale maple neck, cold metallic finish or 3 tone sunburst and MOTS guard would fail miserably in my eyes - a lot of more modern Fenders would fall into this category. However I love really ambered maple, pastels and custom colours like Sonic Blue, Seafoam Green etc. I like wear, even if it’s a relic. So a lot of older or Custom Shop Fenders would fall into this category. Not keen on shiny new for the most part. In simple terms, if it looks cold, I probably won’t like it. If it looks warm and cosy, I likely will. Obviously I love Rics, Tbirds, anything that looks like a 50s/60s American car. I also love boutiques with really nice woods and what I consider aesthetically pleasing designs, such as with something of Art Nouveau about them, e.g. Alembic, Sei etc. Love Buckeye Burl. Not keen on boutiques that look like they’ve been designed by someone with no design sense whatsoever, which seems to be quite a lot of them (the sort of thing that looks like an 8 year old’s idea of an “out there” “fancy” bass, hand drawn with a pencil and with no flow to the curves). Prefer passive but happy to use active if it works. Like headless.

I’d love to try a shorter scale over the course of a gig. Obviously my Rics are slightly shorter than standard 34”, but I’ve never found anything about longer scale instruments (34 and over) that I like better, so it would be an interesting experiment. I had an Alembic Stanley Clarke once, but I wasn’t completely sold on the E and it balanced terribly, although in all other ways was fab; it sang in the upper register. Anyway, back to the OPs lovely ACG!

I don’t know what that means. 😉😂

The action wasn’t high then, but as several who played the Sei single cut I had at the time noted, I prefer my action super low. Martin Petersen at the Gallery once said he only has one customer who likes lower action than me, although to be fair my current basses are set slightly higher than I would normally use, to allow them to speak a little better; I’m currently about 1mm at the 12th fret G string.

Played this back in the day at Moffatt, when it was GreeneKing’s. It’s a nice bass, although I could’ve done with spending more time with the filters (and lowering the action to my personal taste). I always thought the top wood (amboina IIRC) was lovely. Nice to see it’s gone to a good home. I do worry about some of these really nice basses that end up doing the rounds!

Have to say I really haven’t liked the necks on any of the G&Ls I’ve tried, although Ive only tried a handful. I like a wide/flat feeling neck and they always feel very round. I much prefer the necks on the Laklands I’ve played.