Happy Jack

I believe that, traditionally, the start point was always today's newspapers. 😉

https://www.ebay.co.uk/itm/133758450908?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2060353.m1438.l2649 How NOT to sell a DB.

If you find this stuff interesting (as I do) then it's hard to beat https://www.amazon.co.uk/Ta-Ra-Ra-Boom-Ay-dodgy-business-popular/dp/178352104X as an intro to the subject. Despite being written by a music industry insider [BLURB: Simon Napier-Bell has been a leading figure in the music industry for over forty years - a songwriter, record producer, artist's manager, and entrepreneur. Amongst others, he has managed the Yardbirds, Marc Bolan, Boney M, Asia, Ultravox, Japan, and Wham!] this is not the usual shallow money-grabbing ... this is a comprehensive, properly-researched, well-written history of how the finances of the music biz came to be what they are today. Apart from being a very entertaining and informative book in its own right, it also makes a great companion read for https://www.amazon.co.uk/Electric-Shock-Gramophone-iPhone-Years/dp/184792218X

AFAIK, all the Sims work is actually subbed out to Bow Finishing.

I have that stand: https://www.thomann.de/gb/km_42040.htm I also have https://www.pmtonline.co.uk/tourtech-tts-mxa1-adjustable-stand-for-mixer-or-keyboard?utm_source=google&utm_medium=shopping&utm_content=lia&gclid=Cj0KCQjw4v2EBhCtARIsACan3nzEWITpVNxHVBTGW9ddxhSACyB53kDF9ZA4YHyOJbiD158K_bXn5y0aAphsEALw_wcB But the one I normally use is https://www.gear4music.com/PA-DJ-and-Lighting/Quiklok-DJ223-DJ-Performance-Workstation/1YT9?origin=product-ads&gclid=Cj0KCQjw4v2EBhCtARIsACan3nw85vTRxQSVJS5skT7rzipPwS2mlsh-My6mCoVa2ga31o3wI87wVRkaAjJLEALw_wcB I've used all three fairly regularly for the last 10 years. IME the K&M stand is wonderfully light and a very easy thing to transport and set up, but it verges on being flimsy and if the permanently-angled top isn't at the right angle for what you need, then it's a bit of a PITA. The knurled knobs aren't captive, which means that a clumsy bandmate would be able to unscrew one completely at a gig and lose it. Don't ask me how I know. These days, I use this stand primarily to take a https://www.djsupplies.co.uk/products/studiomaster12activefloormonitor to sit alongside the electric drumkit. The G4M folding steel table is brilliant, every bit as strong as it looks, and provides great stability. On the other hand, it is heavy and takes up valuable floor space on stage. Our PA is a heavy 6U Gator case so the size, strength and stability are what we need. There's plenty of room underneath for my bass cab, plenty of room on top for my amp and other gubbins. The TourTech unit rather falls between two stools and hardly ever gets taken to gigs these days, I mainly use it as a handy temporary table in the studio for recording sessions and such. I should also mention that the 'kick-out' of the four legs to stabilise it feels rather unconvincing. It's never actually fallen over, but I do wonder ...

Bloody Hell Douglas! I used to be quite good with numbers ... Too quick with the typing, too slow with the thinking.

+1

Great post, but in truth you really only needed to post this sentence. 😂

By and large, the best solution is usually to play in a 3-piece. Each additional band member increases the complexity and the likelihood of problems by - quite literally - a geometric progression. I have my own problems and issues to deal with, but that's just me so it's problems of one to the power of one = one. Add one other musician and we're dealing with the problems of two to the power of two = four. A 3-piece band is therefore three to the power of three = nine. It is NINE times harder to coordinate a 3-piece band than a solo artist, but on the other hand it is 90x as much fun to play bass in a 3-piece than it is to play bass as a solo act. And a 3-piece is way easier to cope with than the classic 4-piece line-up (16x), let alone a 5-piece (25x). This is of course a very simplified model. The numbers should really be re-stated with weighting in place to account for the ego of vocalists, the selfishness of lead guitarists, and the reliability of the drummer's van.

Pilates, mate, Pilates ... (I know, I know, it's never that simple.)

Well of course yer classic Rickenbackers, well they always had two output jacks, innit? I mean, that's yer bleedin' Ric-o-Sound, innit? Stands to reason ... 😉

How IS your back these days?

As it happens, that's exactly what Thwaites have had to do to my Zeller following this incident:

As a slightly more relevant contribution, I'm finding 'the end of Covid' more challnging in terms of band members than any other point. I've got one band where the singer was not prepared under any circumstances to be in a confined space with the other two of us until May 17th (because them's the rules) even though all three of us have had Covid and lived and all three of us have had both jabs. Which would be sort-of-OK had he been prepared to tell us that this was his thinking before last week. Up until then, he would only give vague and woolly comments about can't be too careful and guys, you just need to give me a bit of time. So he's managed to inflict the worst of both worlds on the band. I've got another band where the drummer was not prepared under any circumstances to be in a confined space with the other three of us until May 17th (because them's the rules) even though all four of us have had Covid and lived and all four of us have had both jabs. He made it very clear right from the start that he wasn't prepared to break the rules so fair play to him. We booked a rehearsal room for the afternoon of the 17th - at his suggestion - and yesterday he WhatsApp'd us with I’m really looking forward to getting together next Monday but am also mindful that we will be in a closed airless space so can I ask that we all do a lateral flow test on the Monday morning, please. I've bent over backwards to be positive and constructive with this guy over the last six months, but I have to draw a line somewhere. If I have to start providing proof to the drummer that I have a recent, clean Covid test before he'll rehearse with me, then frankly that's a band that I can live without.

There are bits available on YouTube but it's all rather messy.

Sorry, this episode is not currently available

Hey - it's not like I own that meme! 😂

Link please?

I can't see that Octave control knob lasting an entire gig ...

Here's the full eBay listing: https://www.ebay.co.uk/itm/184734810408?hash=item2b030d8128:g:CAIAAOSwjAxgYwJa This Japanese Bass Collection instrument is a very good professional instrument that has been professionally modded with upgrades to make it even a better instrument. The neck is fantastic with the Ebony fingerboard and smooth 3 piece maple with frets in good condition. No nasty buzzing on a low setup that can be played quite easily. The body is in very good condition as well (few small dings). Beautiful wood grain that stands out!! See photos **Soft gig bag included in the sale.** The mods are: 1)Neck ‘Musicman’ style pickup with four way rotary switching (series/parallel dual and front/rear coils). Very versatile with all usable tones. Scratch plate added over original P bass rout. 2)Bridge ‘Jazz’ style pickup. You can blend this in with the various switched options of the Musicman for more zing and clarity in your sound. (think pic or slap styles) 3) Belcat 2 band active preamp (for more EQ flexibility) 4)Extra neck bolts (very stable and rigid if not symmetrical...done properly as extra screws are in metal cups). Electronic Controls: high quality black metal knobs with Master Volume, Bass, Treble, Blend, 4 way rotary switch and active/passive switch (important feature). Tuners: Gotoh black(looks original) Bridge: good quality (looks like a Schaller). Side metal jack plate in matching black. Truss rod cover: does not seem original but adequate covers the routing. Sound: punchy and smooth with various options as described above. Ebony fingerboard makes for a stiffer neck and good sustain. Obviously a higher quality pre-amp could make it even better but it’s ready to gig!!

I agree with @Dan Dare but I'd also be curious as to what has happened here (this is a very unusual split AFAIK, and Warwicks are well built) and how old the bass is. Definitely get an opinion from a luthier (tell us where you are and someone may be able to recommend a suitable person) BUT have a chat with Warwick before you spend money. They may themselves be sufficiently puzzled by this that they offer to swop in a new neck so that they can examine yours.

He could still at least have stuck a Fender decal on the headstock ... 😂

Exactement, mon brave. I've had exactly the same break on a DB neck, and it looked exactly like the photo.