NancyJohnson

*COUGH* The one I have up in the for sale section. *Cough*

The key with any older/vintage guitar comes down to originality, I suppose. It would be impossible to put a price on this as you'd need to factor in costs to try and reverse the modifications and get it back to stock. Harsh as it sounds, I don't think there'd be may people who would go, 'Wow, I really want that bass!' If it were me and I didn't want it any more, I'd probably think about putting it up on eBay with a low reserve. If it's got an original Hamer hard case, it's feasible that you could do two auctions too; the Blitz bass should fit the case and they're always in high demand.

If we're talking sound, then a real drummer will sound better than a machine. There's other alternatives to machines though. This is my current squeeze, live loops: https://soundcloud.com/user-331350717/spookwaffe

I've been through many drummers in my time, good ones, bad ones, lovely guys and some that have been complete asshats. I'd say the only one I miss playing with is the last one (but don't tell him that); he was a fantastic player and in the main was fun to be round although he had dark moments as he had some personal poop going down. That said, right now the new band are recording using midi-drums and loops; flexible and way more complex patterns. I'm sure we'll add a drummer at some stage, but right now we're just writing and recording. No need.

You know the one thing I love about these basses is the headstock. Every Gibson with 2-a-side machines should have cloverleafs, binding and that big inlay.

I don't really know what you'd qualify this as to be honest. Bought a Squier Badtz-Maru here yonks ago, a bit of fun really. I think it was more Bronco than Musicmaster or Mustang. Decided to swap out the machines but it suffered a major headstock failure when I was trying to enlarge the holes. Junked the neck and the body sat under the bed for ages. Bought a '70s rosewood Mustang neck from the US, truss rod maxxed out, forward bow, so sold that on as a project and the body went under the bed again. Bought a loaded Squier Mustang neck from The Stratosphere, stuck a Hotrails pickup in it and changed that wretched bridge to a Mustang one, so at least it intonates now. Dunlop Straploks. It plays nicely, the pickup is hot, so that helps. I've used it tons on home demos...space is tight in the home room, so it's an easy thing to just pick up and play.

In answer to the original question, I always strived to get in someone better after a member decided to move on and the band did improve with each iteration, well, until I left. Their new bass player kind of sucks.

Sell both the Fenders and buy a Thunderbird. Job done! 😂

Find myself more in love with the band members and these documentaries than the music to be honest. As individuals, they are very entertaining guys, but as a band I fell out of love about the time of Power Windows.

I'd put my money on there being more than seventeen.

Except for the ones made in the far east, eh?

This is a great album. They've 'gone country'. Don't get it.

I think I sat up and listened when I heard the break at the end of Sweet's 'Rock and Roll Disgrace', the b-side of Ballroom Blitz.

That is somewhat of an improvement.

OK. I've had a few. Whatever was on an old Warwick Streamer, The Bongo 5HH and a John East Retro. [edit: I did have an 18v EMG thing on a Precision and I think an old Ibanez Musician had actives, but it was a long time ago.) I'd say the Bongo was the best by a country mile, so long as you didn't abuse it. I'd start off with everything flat and just tweak to accommodate who and where I was playing, but by the end of the night after some excessive twiddling, everything would be ramped up full and it would sound horrific. I'd say the Bongo was the reason I decided to go passive thereafter. (I even posted a thread here at the time asking whether I could pull the active stuff out somehow; it was kinder to just sell it on.)

Does your interpretation of Preamp only include on-board electrics? As a rule, I prefer passive basses, generally plugging these into any manner of Tech 21 stuff; BDDI, GED2112 or the new kid on the block, the intense dUg.

I've never understood why they've gone the programmed route...but I suppose as they have all manner of poop going on with the other instrumentation, why not go the whole hog and do drums as well.

Drummer Jay Postones is a friend of mine.

I'd concur that it is. It's a wonderful thing, just a short nose in front of Cheap Trick at Budokan.

Indeed I am and always have been. NJ is a long and winding road of a story.

I just finished listening to the first two Japan albums and to my suprise a couple more new Lutz tracks dropped, so now these are playing...

Early on I recall being obsessed with Steve Priest, then Geddy Lee, then dUg, so it really came down to dirty clank. All hail Tech 21 NYC. It doesn't matter whether I'm playing a Squier Badtz-Maru or one of my Lulls; that's the tone I'll dial up.

We used to gig with a band who seemed to rely wholly on public transport (granted a lit of those gigs were on shared backline and drum shell packs). They'd just got it down to carrying the absolute bare minimum, all strapped onto various trolleys.