Dan Dare

A pal has a Subway and it's a wonderful little head, but the retail prices for Mesa in the UK are a scandal. I'm not knocking Mesa, but their UK importer appears to be taking the p***. US retail price for a Subway 800 is around 700 bucks (and that's including US sales tax - check out a few online ad's from dealers in the US). So why is it the best part of 900 quid here? By comparison, the Genzler Magellan, which costs similar to the Subway in the States, retails for £650 here. Seems to me the prices here for Mesa kit here are more to do with the margins of whoever imports the brand into the UK. They must be slapping on a serious mark-up, I reckon.

[quote name='Rich' timestamp='1476544693' post='3155121'] I like sound of flats, on a P especially -- who doesn't? -- but I absolutely HATE the feel of them. That smoothness feels almost slimy, it really makes my skin crawl. Eucchhh. [/quote] I think that slippery feel is to do with the anti-corrosion coating firms like D'Addario put on them. I always clean them with Duraglit before putting them on the instrument. Seems to help.

Fender are advertising their wares on the sides of some London buses. Saw one yesterday.

[quote name='Beer of the Bass' timestamp='1476357306' post='3153563'] This has been discussed a few times over on Talkbass. It does look likely that Fender flats are made by D'Addario, but there are some differences in the materials and construction between the two. So there's probably some family resemblance but they're not simply re-badged Chromes. I'm using Sadowsky flats, which likewise are made by LaBella to a slightly different recipe than their own strings. Those have a reasonable balance between old-school thump and clarity, but are a couple of steps darker than Chromes. [/quote] Thanks for the heads up re. Sadowsky. I've not seen them, but will try to locate a set. I tried Thomastik and liked them, apart from the over-light A string (only .70), which was just too slack (and had intonation issues - I couldn't move the bridge saddle far enough forward to get the octave in tune). I replaced it with a .80 Chrome, which matches quite well - they're on my Jazz at the moment.

Phil Jones Piranhas (not the Neos - a bit polite, imho, although lovely for jazz) have to be on the list.

Chromes for me, too. If you want real old skool, La Bella, but Chromes more versatile and an easier chpicce for someone making the switch from rounds. I've an idea the new Fender flats may be re-badged Chromes. They are very similar - gauges, specs, etc and even have the coloured ball ends. I suspect D'Addario is making them for Fender.

I reckon ambient's right. It's very personal to the player. I love Jazz basses and have been playing one for 30+ years. Only recently got into P's, via building a bitsa out of odds and sods I picked up on eBay. Took me a while to learn how to use it - I find you must play it gently to get the best out of it. It has quite a limited tonal palette, but for certain styles, it's just right Why not build one? Only 35 screws holding the whole thing together and the soldering/circuitry is about as simple as it gets.

Dolly board a sound plan. I made one and it's very handy. Larger wheels make riding over bumpy/rough surfaces easier, so get the biggest possible. Size doesn't matter if they're not permanently attached to the cab.

Handy for that old bass clef(t)

Beyer DT770. Extended low frequency response and clear, warm sounding.

I agree re. the odd instance of dodgy conduct. That's when feedback can be of value (although my experience is similar to Grangur's). However, some were objecting to not being given positive feedback. Caveat emptor should be the watchword if you are concerned. Purchasing at distance without seeing an item or meeting the seller can be risky, although 99.99999% of people are decent and honest. That's why I always collect things of any value that I buy second hand. If I miss out on an original 51 P Bass for £30 that's being sold by someone in the Russian Fed', that's just my hard luck...

As an old git, to who all this feedback malarkey is a recent, eBay inspired thing, I'd say that it isn't one's right, having sold something, to expect or demand feedback, praise, or whatever. If you offer an item for sale and someone buys it and doesn't ask for their money back, that' the end of it. You have no right to a pat on the back. If you get one, it's a bonus. You have taken their money, after all. It isn't as if you gave them a present. The same applies if you buy from someone. You pay them for an item they own. It's a fair exchange. Praise and stroking isn't part of the deal.

Jeff Berlin has some trenchant comments on this topic. One of his questions is "Would you refuse to learn to read language? Then why music?" I've played with some who say things to the effect that reading and an understanding of harmony, etc will "restrict their creativity", etc. There's no need to go overboard, but a working knowledge is a very useful thing to have. As bubinga and stingray pete say, you can learn any piece/part without having to play/pause a recording or have someone else teach it to you note by note, with frequent repetition whilst you go over and over it - very few can hear something and play it straight off the bat (those that can tend to be able to read anyway - almost all at that level of competence will be only too aware of the value of musical literacy). That alone makes it worthwhile. You don't have to read everything, but it's valuable to be able to if the occasion demands it. I think the reason some "belittle knowledge, and those who have it, or strive to have it" as ambient puts it so well, is because they feel threatened.

Yes. They get the place cheap because it's next to a music venue, then try to get the venue closed so as to make a killing on the property price. Some a'hole tried this in the case of a well know North London traditional music venue I frequent. He didn't get far.

Another vote for Wunjos. I have only bought odds and sods there, but they're always friendly (although not overly so in that sales rep' way), let you play with stuff to your heart's content and answer questions intelligently.

What casapete said. If people are civil, sober and obviously not idiots, I say yes. However, I won't actually lend out instruments or equipment. Things can get messy/complicated if damage occurs.

Fender Musicmaster bass combo. Tiny, feeble/very low powered, open back, one volume and one tone control. Have seen a couple offered for silly money as "vintage" amps recently. Agree with those who defend Carlsboro. I used to borrow one in the 80s - can't remember the model - and it was fine. Not state of the art, but reliable and quite adequate for pub gigs. Did me whilst I saved for a Trace.

I think it's because the 'strong' hand has better timing/rhythm that we play the way we do. I know I can tap much better time with my right than my left and when I play percussion instruments, I always lead with my right. Just feels more natural.

Approximate

Back in the 1980s, I stripped my very battered (by the previous owner, not me) '72 Jazz. We were all doing it back then. Has defo reduced its value. So unless you plan to keep it for ever and/or money is of no consequence, best not to.

If he wants a BD monitor, he should provide. Don't destroy your kit for his sake.

I carry my Basswitch, which I can use direct into the PA if the backline fails.

Fusion Urban Bass. Can't fault mine.

I'm average, but not particularly happy - not about being average, but because I'm a miserable sod generally.

There are live bands and live bands.