NancyJohnson

I used to play along with a lot of Kiss and Rush when I first started. That said, from a band perspective, it was always originals.

Thomann advising 'In stock within about one week'. Getting a little moister. 😄

Material composition and conductivity thereof aside, isn't it all about the degrees of rotation? Assuming the knob rotates through 300 degrees (of a circular 360 degree rotation) to operate from open to closed, then the length of the track size is of an irrelevance; it doesn't/shouldn't matter whether the pot is the size of a thimble or that of a dinner plate.

I love the look of Duesenbergs, especially some of the Star Player TV guitars - they're pretty sparkly and blingy, but I've never felt the pull of purchase and I'm not a fan of the basses at all really. There's just better out there to be had.

The only DRs I REALLY liked were the Jonas Hellborg Signature sets. Despite them being 40-100s , the windings were of a bigger diameter/gauge to that of what I'd consider as being regular strings. They felt comfortable, good tonally. I think these have actually been discontinued, but sets come up on eBay periodically; they're definitely worth a punt if you can find some. I have one unused set that I'll use next time I'm swapping strings.

All of the above really. I don't believe the nuts on budget basses are cut particularly well, so the strings should ride OK; the key things are going to be in the bridge and machines. I'd just make sure that the bridge will allow the B-string through the entry hole and that it has enough clearance to roll the saddle back to allow the bass to intonate. Make sure the posts on your machines are wide enough to allow for the B-string too.

Dare I add to this list Kiss by The Art Of Noise/Tom Jones? I'll admit Prince was never on my radar (even in death, this remains so), so maybe it was well known beforehand, dunno. Oh, and my mate Keith played guitar on it (and in a chasing the money exercise, Diamond Lights by Waddle and Hoddle, as well).

Thomann update, 2-3 weeks on the head. Getting a little moist.

I have a mate who was ('back in the day') reasonably well moneyed, he'd been playing guitar for a while. He'd never really nailed his desired tone until, around twenty years ago (maybe more, maybe less), two things happened. On a trip to the US he came across a guitar shop that was closing down and he bought three US Jacksons. One of these was a Strat type thing, single pickup, volume control. When he got back here, for some reason he traded one of the Jacksons for a Fender Twin Reverb. And boom, there it was. Over the following years, all the gear came and went - I lost count of the guitars he owned - now the guy owns a handful of Gibsons, an EVH thing, some other bits and pieces - but he admits he never sounded as good as when he was just plugging the Jackson into the Twin Reverb. We're all as guilty, I believe I had my lightbulb moment twenty odd years ago when I first discovered Line 6 Bass POD and pushed it into the effects return on an Ashdown MAG combo. I had one patch I adored and EVERYTHING sounded great through it; it was like Geddy and Mr Burnel had a demon baby. Ever since then I think all I've wanted was to emulate that tone. Everyone who used my rig at gigs wanted that tone. Nothing I pushed into that set up sounded bad. Sure Tech21 stuff satiated that desire. I'm hoping that the Darkglass A/O head (3-4 weeks) will do it, but I'm just too proud/stupid to even consider going back. My mantra has always been trade up, never look back.

Can I throw in Shudder To Think here? They were a four piece post-hardcore band from Washington DC. There's quite a bit content over You Tube. They were weird enough during the first couple of albums, I mean on the album Get Your Goat, you'd get more going on in a two minute song than a load of bands would do on one side of an album, it was wonderfully listenable, but from a playing perspective it was impossible. Things took a swerve when original guitarist Chris Matthews left and Nathan Larson came on board, he just took things to new levels of strange. Interestingly, I'd cite Stuart Hill (their bass player) as somewhat of an influence (and hero), especially with some of the stuff I'm doing with Lutz at the moment; I tracked him down (via Nathan Larson) a few years ago. 'Just shoot him a message,' said Nathan, 'he'll answer.' And amazingly, he did. We discussed a ton of the material they put out. It was nice when Bass Player did a piece on me and he thanked me for the mention.

Not so much...I guess because I contributed to the thread, I still get reminders when the thread is updated/added to. Honestly couldn't care any less for the brand/manufacturer.

Nah, just an observation. Out of curiosity, prior to the OP's (cough) sales pitch (cough), had there been any mention of Maruszczyk here?

It's funny how this thread keeps going on and on (and on); I questioned this whole 'Official Club' malarky some four years ago and responses thereafter inferred the original couple of posts by the OP were nothing more than a sales pitch, which seems to have been the case as the member disappeared into the ether about a month after his initial posts. I'm sure they're nice enough basses, although not my bag at all, but hey, it was a sales pitch and worked extremely well, eh?

I'm waiting for next year. It seems logical that they'll reissue the 20/20. If they don't, they'll really be missing a trick.

Peace and love everyone.

The thing is @dave_bass5, it wasn't a simple yes/no/maybe thing here. I have the money to buy this, but decided against it; it's really not all about me haemorrhaging my money on gear...I have a very tolerant wife and I discussed it with her. Would I love to own this piece of Hamer history? Yes, sure. Is this more about the chase as opposed to actual ownership? Quite probably. I also feel that once I had it, it would have become more of a vanity purchase rather than the workhorse I would want it to be. To be honest, in hindsight I'm glad I didn't fork over $10K for it, especially considering the add-ons (shipping/taxes etc.) and what the seller has it up for now (although it's not showing on Reverb any more). I will add that the seller is indeed a bit of an opinionated pink torpedo; it's amazing how many times I see his (frankly idiotic) posts on the various forums/pages that I subscribe to.

If anyone is interested in an update, the seller is now offering this bass for $5.5k shipped. So, thats $2.5k less than he was prepared to let it go for to me and nearly half what he had it on Reverb for. What a tosser.

I think the thing that stands out here is that for a general rock band, the material has aged really well. I extended the listening after I got home last night and even my wife asked what we were listening to (which is strange in itself). When I mentioned it dated back to the late 70s, she did actually remark that it didn't sound old, which I suppose is tantamount to the production, writing and what actually went to tape. Phil Mogg did have a certain charismatic swagger to his vocal delivery.

I'm in a desk job that, put frankly, I fecking detest, but if there is an upside I can just listen to music and switch off from the general crap that goes on around me. Never really been a fan of UFO's studio output, but would honestly cite Strangers In The Night as being my favourite ever live album. I threw together a playlist of their studio output from Obsession to Mechanix on the train today and just lost myself for seven hours. It's fantastic stuff. Honestly don't know why this band aren't higher on my musical radar.

A first series Hamer Cruisebass; fell in love first time I ever saw one. Likewise the Spector Forte 4X (aka the Spectorbird).

The Warwick I bought in the thread just above this post had neck issues. I swear that the truss rod on the original neck did nothing (it just turned freely) so it went back to the Bass Centre and had a new neck fitted. In their defence, it was one of the very first bolt-ons (a five string LX, with a laminated maple and ? neck), so perhaps they were having teething issues, given their manufacturing to that point was all neck through, which might account for how easily they swapped it for a wenge neck without quibble. While your backstory might seem extraordinary, I can see why Warwick won't just issue replacement necks to all and sundry, especially given the points you've covered (sold unseen, your efforts to repair it); ultimately a business will cover themselves by offering a guarantee for manufacturing faults, not damage caused by the owner. Man alive, try dealing direct with Fender, they're exactly the same, so Warwick certainly aren't setting any kind of precedent here at all. Moving along, my Streamer had a brass Adjust-a-nut and I loved it; wouldn't have any issue fitting one to anything else. Everything else was fine - the bridge, MECs (J/J), the truss rod cover...all good. I bloody loved the bridge! Rock solid, easily adjustable. Question is, would I buy another Warwick, or specifically a Streamer. You know, I think I would, but I'd need to tweak things. It would need to be a PJ, it would need to be saucy/great wood and it would need to have black hardware. That said, I'm only on the market for two basses...if they came along, I'd pull the trigger instantly.