NancyJohnson

Just on the OP, if I were on the market for another bass/guitar, going somewhere like Andertons or guitarguitar would just offer a) some surety that the product is genuinely what it purports to be, and b) if you're going for something with a highly figured top/finish, you may have the option to select the instrument you actually want. If I was buying production line stuff, backline/stomps, I generally do my diligence and would just find the cheapest price online (ultimately Thomann).

Read through the post. This seems to be the main point. i) You quit. ii) As a consequence, while they claim 'no hard feelings', they don't want you there. So it's over. iii) You won't let them bring in a replacement and allow him to use gear you've contributed to monetarily. The key point is #3. You won't let them bring a replacement in and use gear you part own. Hmm. Well, good luck with that. Realistically, what are you going to do? Jump on the stage where they're playing with a placard saying you own <insert percentage here> of their live gear and the show needs to be stopped? Quitting a band hurts, I know it does, you've worked hard and someone else is now going to reap glory from your work. To resolve this, from the outset, work out what you've spent and depreciate it accordingly, agree on a figure (go in high, which will allow you to take a drop in return) and give them your bank details in the initial contact email/text. Leave it to them to continue gigging and let the old guys pay you back.

My wife snoring. It's a thing of joy.

Stupidchief. Acoustic Couch, The Bracknell 12/7/24 These guys are mental.

Paul Rutherford (vocals), Mark Toole (bass) and Ped Gill (drums) were 60% of the original line up. Holly Johnson and Brian Nash (guitar) declined the invite. The guitarist who stepped in was Jed O'Toole who was the band's original guitarist. Fair play. I was suprised to read they did a few dates through 2005 with RM, there doesn't seem to be anything online - footage/audio. Shame.

This is quite superb. Ryan Molloy genuinely heir apparent to Holly Johnson; pity they couldn't get it together to do an album.

I didn't mind the overall look of the Dimension bass, although there was too much scratchplate going on. I'm not saying this thing is beautiful, but take the scratchplate off (in truth, it's unnecessary) and we're in Lakland/MusicMan territory here. Granted the bridge is slightly too big, but it's got a nice deep sunburst, two pickups (winner, winner), rosewood/whatever board. Even though I'd never consider buying one, it's way more attractive than a J or P:

Just thinking about this one and the TZ model earlier in the thread. Fender could have gone out on a limb a produced something genuinely radical here; there's certainly no reason why they couldn't have tweaked the body shape away from the Jazz shape and done a 3-aside headstock, but like Gibson, they're inherently lazy and it's probably simpler to just make the neck pocket and headstock bigger in CAD than to design something different. Likelihood being this'll be in production for 12-18 months and (like everything else different) be quietly withdrawn due to poor sales.

The fundamental issue with Fender is that they're too headstrong and they're stuck with a headstock design that doesn't look pretty with the incorporation of additional tuners. Other manufacturers don't seem to be too hindered/constricted by sticking to the same shape headstock across their ranges; off the top of my head, Ibanez. I love the Spector headstock. You could (possibly) put that on anything.

Headstock is a munter.

Cheque in the post, sir. I just remember after that one I had this intense pain behind my ears, only for one of the girls in the crowd asking for her Alice band with kitten-ears back. Oh, and then there was the sound guy going off and doing lines while we were playing. Jikes!

I've had this for a long time. It's in incredible shape for a 40 year old instrument. There's hardly any left globally (they didn't even have a model to photograph to include in the Hamer coffee-table book) and it's worth a small fortune (which is why it doesn't see much action). Tonally it's lovely - I've not had the pickups out (not want to/see any reason to), so I don't know what they are, but considering it was 100% original when I got it, I'm assuming they're early-80s DiMarzio units. Original hardware was chrome, have swapped out to the same units in black and have recently swapped the jack socket for a flat one made by a young chap locally. (Kept the originals.) Gigged it once - @Wolverinebass was at that one - I rehearsed with it a couple of times and it's been to a couple of SE Bass Bashes, but in general it spends most of its time in a case.

Cheap Trick (see what I did there?)

Watched about 20 minutes of coverage at around 7.00pm last night on BBC2 (I may wander onto iPlayer at some point today). It's like a three-day version of Later... with Jools Holland supplanted by hip young things (or as my mum would say, 'Boys in shorts'), making gravy by standing on a hill reading an autocue and waxing lyrical about how great past festivals were - it would be like me saying how great the Steve Hillage set was in 1979 - then telling us they're going cut back to Mwombi N'Dunga, a folk/apala crossover artist from Mali doing an acoustic set. Ack.

If I was playing there, I'd use my most obscure bass and get a t-shirt done.

We're old enough to just do it in our pants now. It's expected.

I haven't a clue who is playing (and deep in my heart, I really don't care), but decided to have a look at the bill. Christ on a bike. There appears to be hundreds, nay thousands, of artists playing. How on earth does one sort the wheat from the chaff? How does everyone get paid? I recognised maybe ten bands and gave up scrolling. My idea of Hell to be honest.

Given Warwick copied/used a NS/Spector design, you could probably consider this a Poor Man's Spector.

Given Epiphone are now hawking Les Pauls/Explorers (etc.) with a Gibsonesque style logo in the correct placement, I'm not unsurprised that for the bass they've dispensed with that and stuck the headstock logo in that position/orientation. All that's gonna happen here is buyers are going to break out their sanders, buy a replacement Gibson waterslide decal and thincoat over the top of it. Just like Squiers.

The G&L is a munter. 100%. The early headstocks were nice, correct me if I'm wrong, but didn't Fender complain the original design was too similar to theirs?

Has anyone thrown original Rickenbacker 4001/4003 pickups/loom into another bass (all the while retaining the general pickup distances along the scale length)? If yes, does the new bass display similar tonal characteristics to a Rick?

*Sadowsky.

208 'Your Cheerful Earful!' Ooh, loon pants!

'One Hand Clapping' by Wings. Enjoying this immensely (second run through already today). Wings are a bit of a guilty pleasure for me. I remember my mum buying me Wings Over America one Christmas on the recommendation of the owner of the record shop where I'd get all my records from. Those three or four albums from the run that led up to this live album (Band On The Run, Venus And Mars, Wings At The Speed of Sound) are regular go-to listening. The recent Band On The Run (Underdubbed Mixes) was a freaking 10/10 joy.