Doctor J

Metallica are, not Coldplay, they are the Simpsons. Every time you encounter something new, you just can't help but check it out, knowing it's going to be terrible, but are unable to break the mental link between the current dross and the genius early years.

Ah, the silly things people think is worth money. I had a guy try to trade me a SUB Stingray (the old US one, which could be had used for less than 500 quid quite comfortably) recently and on which he had placed a value of 1300 quid, on the basis that he had never really played it so, therefore, it was new. It meant that I would have had something just taking up space which would lose 800 quid in perceived value if I ever played it. I enjoyed that one. Just yesterday, I had a guy offer 200 for a bass I have priced reasonably (in my opinion, an 89 Ibanez SR1000e) at 450. He essentially wanted to charge me 250 to cover his time and fuel for the 300 mile round trip. I made a counter offer, that I would incur the time and fuel expenses and deliver it to him for 700. That seemed to upset him.

"Classic era" when which always happens to be whatever year their thing was made. The magnificent "lawsuit era" which rarely corresponds to an actual lawsuit. If the ad doesn't have all of "original", "vintage" and "rare" then count me out. I do like when the factory is called out, too, so I can stroke my chin and think "Oooh, that sounds like quality to me"

Load killed them for me, I remember having to take the inlay out to compare the lyrics to what I was hearing, so sure I was that there had been a mix up at the tape plant. I've softened to it and Reload since, it was a natural progression for them, though, unlike the forced, mediocre "back to form thrash" garbage they've been churning out since. They would probably be a better band today if they kept going that route. I love SKOM, though. It's genuinely fascinating and fair play them for releasing it. They're an intriguing band. I can't think of any band who were so very, very good turn so horrifically awful and completely lose touch with absolutely everything which made them great. Where they could write songs which grabbed your attention and kept it for as long as the song went, now they just have songs which long outstay their welcome, with stupidly long intros and pointless repetition, it feels, just to make the song long. Why they insist on filling every minute of a CD every time is also baffling. I have to check everything they release, though. They're the guys who wrote some of the best music of the 80's, I can't disassociate them from that, even though it has been relentless turd splutter for so long. Lars' ears must be fried, though. The hi-hats are at tinnitus-inducing levels on the four new songs I've heard, so much so that I really don't think I can stand to hear anything else. They will never stop fascinating, however.

If the truth were calculated as a percentage, I'd say it would resemble a spotify royalty rate.

Don't worry, if Lars keeps turning up the foooookin hi-hat mic none of us will be able to hear anything soon enough.

Dinky J ash body in translucent emerald green stain, gloss finish, 24 fret roasted maple oil and wax finished neck with banjo frets, no fretboard dots, 2 G&L L-series MFD pickups with L2000 electronics modded to have a blend control instead of the pickup selector and no active/passive switch, those pickups do just fine as passive.

I've bought lots from the US over the years, though have scaled back considerably since the price of postage to Europe has gone through the roof. Expect to pay about 25% import duty on the total cost of your part, including postage, when it arrives. There'll probably be a handling fee added, too, to cover the expense of charging you import duty.

The studio is one thing, live is where songs get to breathe, though. They could sneakily mime along to pre-recorded studio tracks like far too many other bands are doing now? I'll take the extended rocking out any day, personally.

Is what right? What are they doing opposite? Having had both, the volumes worked like volumes and the tones worked like tones, so you need to explain what you're experiencing.

I was looking at this earlier, the neck width at the nut on Combustion 4s all seem to be 42mm.

But you still can't find a drummer who won't speed up

That's ok.

Cheap, relative to the expensive labour, as quoted.

So it's a reverse, reverse Thunderbird, then, rather than a non-reverse?

Not sure I understand the logic. Fender have multiple OUS factories explicitly so they can utilise cheap foreign labour. If you want to subsidise a company who don't exploit cheap, foreign labour you'd choose one who don't have more factories in cheap labour markets than they do at home, no?

How else would they poke?

Well done, Andy, great show.

Have you adjusted the relief?

Fender WhyMention Packed with features which, while not offensive, leave you wondering what question they are the answer to. When you're thinking of a new bass this certainly won't cross your mind. If you've got a hole which can't be better filled by a L2000 or Stingray, WhyMention it!

Yeoow. I'd maybe pay a third of asking price for that, if even 😂 Reverb is destroying the second hand market. I was looking at this earlier. The technique seems to be just ask for double what it's worth and hope for the best https://reverb.com/item/64605295-ibanez-sdgr-sr-1000-power-curve-bass-blue-japan-second-hand?utm_source=rev-ios-app&utm_medium=ios-share&utm_campaign=listing&utm_content=64605295

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