NancyJohnson

Suspect the point of the original post was that (despite them having a thousand basses in stock), that there is an awful lot of product that's available to ship within a few days - be this basses, guitars, brass, whatever - rather than it being able to be shipped same day. From personal a perspective, I'm fairly picky in what I want to use, so would probably struggle to find any more than two or three basses that I would want to own from whatever they carry from their current level of inventory.

https://www.facebook.com/share/p/cFNMzCyYypa9NAmq/

Just a heads up. Facebook marketplace. Colchester. £900 (or offers)...Babicz bridge too! Cheaper than the current Epiphones!

I'm uncertain what sort of payment terms suppliers offer businesses like Thomann (or what their markup would be), but with logistics being as they are nowadays it does make more monetary sense to take an order from a customer, buy-in the part/instrument from the European distribution company and then ship from Thomann, even if it adds a few extra days on the delivery. I'm sure some suppliers can facilitate deliveries direct to customers, obviating any necessity for Thomann to even touch the stock it's selling.

Just for you 💕

Perhaps I should approach the good people at Aria Pro II to build a 1978 Signature Primary Bass, but god knows how they'd replicate it for the masses. It's got a decent backstory; Friday night Gumtree purchase as part of a job lot (£50!), Schaller machines, but everything else was missing bits/broken. It took a few days to straighten the neck (truss rod wasn't under any tension). Put a Delano pickup in, new loom, Hipshot Kickass bridge, Straploks. Every time it goes out, I ensure it gets a fresh ding. It's a workhorse.

Subscribe to the Matt Horn channel on YouTube. He's the drum tech for Falling In Reverse. It's all bodycam footage; covers everything from getting up to going to bed. Very watchable.

I bought one. I just wanted to see how much I could actually read given the gnarly and indistinct grammar and syntax he generally uses. It was unreadable. To rehash one of Eric Morecambe's more memorable lines, '(Mr Philips) uses all the right words, though not necessarily in the right order.'

My fundamental issue with every facet of replacement parts (be it pickups or bridges or machines or, or, or) is that they're merely one element in a chain of events that involves the transference of the sound emanating from your fingertips through to the air that hits your eardrum. I would wager that pretty much any (working) bass, that's been similarly set up and is playable, would be more or less unrecognisable tonally from another, be it an old Russian monstrosity through to a £10k Fodera. Seriously. We've proven this already.

As the components of any pickup are pretty much magnets, copper wire and (if potted) wax, the only variants are going to be under/overwinding or different magnetic materials (iron/neodymium). Fundamentally the core materials/process is in general, more or less the same. If you consider this, then the fundamentals of pickup design/manufacturing are pretty much set in stone; I owned a Rickenbacker 400* for a while, the quintessential Rick tone was there, but I'd wager that part of this tone was to do with caps and pots along with my desire/belief to sound Rickenbackeresque. It was arguably cheaper to achieve this by integrating outboard processing rather than swapping pickups every five minutes! I simply don't buy into the claims that pickups sound inherently different from each other, irrespective of claims otherwise. I know what I want to sound like and can achieve that (more or less) off a BDDI.

Oh, and the new Tears For Fears live album (which has also arrived on Blu-ray/5.1).

Interesting day of re-releases today. While I'm not really a Green Day fan, I've been spinning the American Idiot deluxe thing today in the background. Currently going through the Queen 1 Collector's Edition deluxe set, which extends to 63 tracks (which in the actual box extends to six discs)...I'm on track 30 at the moment. Also enjoying the new Momma single; if you like Veruca Salt and Smashing Pumpkins, then this should be right up your alley:

Gadzooks! Here we go. IME (quite a bit), there's no such thing as dirty sounding units, per se; sure there are pickups that have their own individual characteristics (Rickenbacker units, Mudbuckers and - by default rather than design - vintage/60s Thunderbird units, which were lap steel surplus units) and those that arguably have a hotter output, but by and large in reality they're all pretty much the same. If you're looking for dirt, best practice is to add something into your signal chain!

I'll admit I've never truly been 100% happy with stock amps giving me the tone I truly desire and I thought the Darkglass AO900 was going to be a one box solution, but it's too aggressive and totally the drive element is different to what I'm looking for. I've run various pre > Poweramp setups over the years, so (for now) this is my desired route (again) albeit in a smaller box. I was toying with the 1000w version, but that would have been a bit of a vanity purchase, headroom aside, I don't need that amount of power; I've never taken the Darkglass over 40%!

Just ordered the 600w version. Wife chipping in so it'll form part of my birthday stuff, so I won't actually get my hands on it for five weeks.

Bought a Badtz-Maru Bronco years ago; biggest failing was the machines. First attempt at enlarging the holes resulted in what is best described as catastrophic headstock damage. Junked the neck; bought a vintage rosewood '70s neck from the US (including machines), but that was horribly bowed and the truss rod maxed out. Neck #3 was a loaded one (with decent machines) from the Stratosphere place in the US.

I think I've posted elsewhere on Basschat about that gig. The Sweet were one of my first big musical squeezes when I was pre-teen. He'd been really ill and, truth be, I can't grasp how difficult it must have been for him to perform. While he didn't have an issue remembering the words, he was pretty much glued to one spot and was led on and off stage with helpers (it was like Joe Biden); he was heckled too. It was a shambles. Thoroughly unpleasant.

Just echoing a few of the comments here, years ago I saw a double header at Guildford Civic Hall of Brian Connolly's Sweet and Les Gray's Mud. Not a great experience; ageing frontmen backed by young bucks. I believe at one point there may have been three versions of The Sweet out there, surviving member Andy Scott is still out there gigging and using the Sweet name. I'm sure there's bands out there trading off a name where there's no a single original member; I'd have respected Connolly and Gray more if they'd just gone out under their own name rather than using Sweet/Mud. End of the day, bands are like football teams, many of which are simply a revolving door of talent. Personally, I'm of the belief that once your primary singer goes, then that should be that. Using 10cc as an example, the classics were all sung by Creme/Stewart/Godley, all of whom flew the nest decades ago; I have friends who try and catch Gouldman's 10cc as often as possible, even travelling abroad and combining the gig with a city-break. They've asked whether we'd be interested and have declined the offer; to me if they broke out Rubber Bullets, I want Lol and Kevin to be singing and I couldn't get past that, otherwise isn't it effectively karaoke?

I used to work with this bloke who'd occasionally come out with these off the cuff remarks that you'd actually think, 'Woah, stop the bus!' One time he said, 'What if you were in your garden putting some plants in and you dug a hole and found a brand new colour in there? Something that nobody had ever seen before.' I know we are times where, at our fingertips, we have access to a colour pallete that pretty much encompasses everything in the visible spectrum, but this comment continues to boggle my mind thirty odd years since he said it (much like the size of the universe stuff). Maybe Ernie Ball have been digging holes in my mates garden.

I owned a Waterstone TP12 for a while, it was effectively of a semi-hollow Les Paul style design; there was obviously a bit of weight on the headstock, but a combination of grippier strap and tendency for playing with the side of my right hand resting on the bridge, meant there wasn't really any discernable issues with balance. Have also been playing Thunderbirds for years, no real issue there either.

Rex Brown. £££ or $$$

Dirty edits. Gotta say it looks nicer in all black, although I don't particularly like thoss sharp bits Even just dumping the neck and bridge into the Simon Gallup signature looks nicer:

I used to run a shallow 4U rack, tuner, Sansamp and a 2U Poweramp. On the back I had a 1U PSU. Everything was hardwired in including a wireless unit, there was even a convenient short XLR extension out of the Sansamp that made it a breeze to squirt my signal to FoH. Speakons were always jacked into the Poweramp. It was also a good place to put your keys/phone while playing. I'd agree that having everything tucked away in there was kind of dreamy; coil up the leads, pop all the little bits in a small plastic box, put the lid on and you knew nothing was missing and it would all get home safely. Happy days.