FinnDave

I'd definitely buy a set of of BC "it's all in the" fingers.

Ah, well if it comes with a brass neck, that's a big difference from the old fashioned wooden one that the Standards sport.

Looks very similar to the spec for the Standard (which is why I am wondering what has changed other than the name). Not that there's anything wrong with the MiM Standards, damn fine basses in my opinion.

What has changed from the MiM Standard range other than the name? I bought a Standard Jazz bass a few months ago (in the correct colours, sunburst & mock rosewood) and it is a fine bass.

Just trying to help!

Yes, but only between twelve noon and sunset.

One of my bands used to have a 'star' singer, who was great on a good night.... when we parted company after about 18 months, I was surprised at how many people said 'she had a great voice, but you're more fun without her'.

In that case, forget learning the songs, just try to turn up on the right day! I got booted from a band I'd joined when I first moved back here a few years ago because the BL wanted a particular drummer in, and he wouldn't play unless his mate was on bass.

That's true enough. apart from the band I joined through JMB, I'm in another playing similar music with people I met through local jam sessions, and another I was asked to audition for via a facebook contact. I didn't have time to learn any of their material (48 hours notice and two gigs to do before the audition, one of which was first time out with a new band), so listened to a CD of the original band they cover to refresh my memory, then busked it. Been with them nearly 6 months now.

I know JMB gets some bad press here, but I've played getting on for 200 gigs over the last few years with a band I found there, it's not just flakes and fantasists, there are some good people there as well.

Auditions work both ways, not only are they trying you out, you are (or you should be) sizing them up as well. I can't remember ever learning stuff for an audition, I just turn up and busk it, it shows that you're flexible, and life's too short to commit to learning a dozen songs just so they can take the drummer's mate instead.

Apart from the picture, it sounds right up my street. My main gigging band describes itself as 'Psychedelic Blues Rock'. Got enough on my plate right now though, and the ad doesn't say where the band is based.

Yes, the attention to detail was exceptional! As was the speed with which they got it to Leicester!

I forgot about those, I was playing an all-American Jazz made in Mexico all day yesterday!

They're as American as an apple pie made by an American using American apples, in America. I love 'em (Precision basses, not so keen on apple pies, difficult to get the intonation right).

They make a great addition to a salad! (possibly!)

Two gigs this weekend, Friday was a party for one of the Wirebirds (band I've played with for the last 5 years) which was good fun but obviously unpaid, ended up jamming with all sorts of people, some good, some less so, but all enjoyable. Last night (Saturday) was with the Mighty Cadillacs in their home village of Eynsham, so a good crowd in, several people took guest spots, unfortunately that mean the rhythm section had to play all evening with no break. Today I'm off to Leicester for a Grateful Dudes rehearsal, 180 mile round trip but I know they'll be some great music played, and we have summer gigs soon. I'll stop off at a local blues jam if I get back to Oxfordshire in time this evening.

You've paid for all those frets, might as well use them from time to time!

I am not familiar with Peter Hook, but Phil Lesh of the Grateful Dead is known for his upper registry bass work - I play in a GD tribute band and, for example, 'Fire on the Mountain' can last for 15 mins without the bass going below the 16th and 14th frets on the G string, except for a passing F# on the 11th fret.

All my gear is there for me to use, I take a couple of basses as appropriate, most pub gigs I do are blues based, so take my US Standard Precisions (only Ps I have), the Dead tribute gigs are larger venues, but use my MiM Jazzes there because they suit the music better. I never consider my gear to be at risk at a gig except through my own or a band mate's carelessness. Most of my basses have the odd chip out of the paint, annoying when it happens, but soon become part of the instrument's history. Any basses that don't get gigged regularly are put up for sale, not room in the house for gear that isn't being used. I wouldn't buy anything 'too precious' to gig with.

I play Fenders purely because they are what I aspired to as a schoolboy some 45 years ago. I am just as happy playing my MiM Jazz basses as I am playing my MiA Precisions (both Ps were bought used, the Jazzes were both new) and I am sure I'd be equally happy with Squiers. I kept my Epiphone T bird last year and sold my Gibson version because the Epi was every bit as good and the Gibson was worth at least three times as much.

Isn't that the less visited cousin of Australia's famous Ayers Rock (sadly not related to Kevin of that ilk)

I currently use fingers on round wound strung Precisions for the blues band(s) and a pick on LaBella flat strung Jazzes for the Dead tribute. They obviously sound different, but I don't think there is a difference in speed, just that the tone suits the music.