TrevorR

Yes, Fiona Bruce would DEFINITELY convince me to go to more car boot sales!

Yeah, Stu. You've already gone way above and beyond. Looking forward to the pics when you're ready to share and for your big "Tah-dah!" when you reveal what you actually paid for it. Lol. Like @Highfox and @bassjim have said just don't disclose the serial number. If someone emerges who does want to claim it as their own the two pieces of proof needed would be "What was the serial number." "Can you show me a photo of you playing it so we can compare the wood, the grain, the figuring and any other identifying features." You bought it in good faith, the burden of proof to show it is the bass that was stolen and not just a.n. other Wal rests on them. Personally, I really can't see someone putting their hand up and claiming it's theirs. In the meantime, enjoy your Wal...!!!

Quality music. Apparently it’s a duo called Banks & Wag who’ve done lots of pop as well as TV and film work. Singer is a vocalist called Sharleen Linton. Great set of soul pipes!

And if there are bits of that surface you like then listen to those bits. Let’s face it there are some bits of rock or pop you like and whole swathes you don’t. Jazz and classical are no different. Listen to what you like. So if you do want to explore a bit and like Bach and Barber try some Vivaldi/Haydn and some Elgar/Copeland. If you want to explore deeper and think, “I’ve never listened to any Bruckner” a perfectly valid outcome is, “Well, done it once, never have to listen to Bruckner ever again”. Plenty of rock bands I have filed in that bin!

OK, mind officially blown. A bit of internet digging and several sources suggest the guitar is by a guy called Vic Elms, the drums are by Steeleye Span’s Liam Glenocky and bass is, wait for it, John McCoy later of Samson, Gillan and, was it, Mammoth?

This may just be my favourite ever TV theme. Some great piano, drum and double bass playing. Odd to think it had a life before Barry Norman or that Nina Simone did a vocal version of it!

Shout out for CBeebies Show, Go Jetters. Teaching the nation’s 5 year olds about geography and cultural heritage AND turning them on the disco and funk. They are a team of global adventurer superheroes who are led by a disco unicorn who wears a white sparkly glittery flared jump suit. Ubercorn always has funky facts about the place they visit each episode... surreal genius The theme is like the Wonder Woman Theme on steroids. CBeebies have also done a series of adverts which pastiche famous funky tunes... enjoy...

The little black discs next to the letters A & B are trim pots. Plug your quietest bass into channel C then use the trim pots to reduce the volume of he basses in the other channels to match it. V easy. I’ve got the old model where the trim pots were inside so you had to take the top of the pedal off to adjust them. The second gen ones have a much more sensible design. So, I’d have the passive Aria in Channel C and the Wal in Channel A with the internal trim pot turned down as necessary. I used Channel B as a mute channel as I only took the two basses to gigs.

There's a great acid-jazz version of this by Snowboy...

This is what I use, also not cheap but bom proof and really great quality... https://www.andertons.co.uk/lehle-3at1-sgos-switcher-with-midi-for-three-instruments-(stereo)-to-either-amp-or-tuner-3at1?LGWCODE=3AT1;56375;6335&gclid=Cj0KCQiAjO_QBRC4ARIsAD2FsXMY_jKDziEgHfiEvxZvh4zcANQDnJRJinlJBAqfjey-bX7PxjgQ3XQaAqzOEALw_wcB

That about sums it up for me!

Once you've optimised the pickup heights, get a switcher pedal that allows you to adjust the different inputs so you can balance the basses output against the Mike Dirnt and present your pedals/amp with a consistent input level. Alternatively get a clean boost pedal for the Dirnt to lift its output to match the other basses... That's what I did when I was gigging a high output active Wal alongside a passive Aria SB700 - brought the output of the Wal down so that when I hit the switcher pedal the volumes were consistent.

William ploppedner Sorry, totally random and OT but fascinated to see what the profanity filter did, having just had to re-edit “ass-hat”...

Fair enough, but the tone (from some) went from 0 to “He’s a troll/con artist” in under three seconds. I reckon there’s a really interesting bit of Basschattery to be had here if we’re all a bit more open and welcoming to a noob and dial down the “a$$hattery” a smidge.

For me it’s Thin Lizzy. Always my favourite. And Gordon Giltrap. Next year marks my 40 year as a Giltrapophile! But closely followed by ELO, Rush and Horslips.

Now now now chaps. Before jumping to conspiracy theories you might try finding some facts. Been chatting to Stu by PM and to be honest if you want to label him as anything you can accuse him of being a “lucky bu£&er”. I know that every time I walk by a junk shop or go to a car boot sale I imagine I’m going to come home with a 59 Les Paul that I paid the princely sum of £100 for. And if I did I’d probably wonder if I’d just unwittingly done a shonky deal, because I’m pretty sure I’m not that lucky! Once in a while someone is... and the worst you can accuse them of being is a “lucky bu£&er” and you can hardly blame them for being a bit bewildered!

http://walbasshistory.blogspot.co.uk/

Stu, sent you a PM...

Don’t know about an extra star. He certainly gets an extra “m”!

I admire his skill and think his playing with Joni Mitchell was exquisite. I do love Weather Report though for me the draw is Zawinul not Jaco. And I probably enjoy Alphonso Johnson’s playing more. Jaco’s solo work tends to leave me a bit cold though and always feels a bit self indulgent to me. However impressive it is. Perhaps for me he’s just a player I prefer when working within constraints rather than free to go where he wanted...

And he taught Derek Smalls everything he knows! seriously, he did!

I think we fall into lazy cliches about this every time it comes up... Player in originals band = artist pursuing his dream... Hired dot reader = soulless automaton simply turning the handle for the money without a shred of artistic integrity Neither of these need be the case and often the opposite is true. I know players in pretty successful signed originals bands who still do it for the love, others who do it because it’s the only viable income stream they’ve got and a mortgage to cover. Then I think about the session players I know. I’m thinking or a few guys and gals who between them have worked with ELO, Katie Melua, We Will Rock You, Mamma Mia, Michael Nyman, Hans Zimmer, ex Whitesnake members, Strictly Come Dancing (Ie Dancing With The Stars), Jools Holland, Gary Barlow, the BBC Jazz Orchestra, Jamie Cullum, BBC Children In Need backing music, CBeebies children’s TV promotional events... there are plenty in there to choose from that will make your eyes revolve skyward and prompt you to make pretend vomiting noises... But you know something. Every time they turn up having learned a set or having a sheet of music plonked in front of them you know what you get? 100% passion, skill, commitment to the music (however pap it is), groove, emotion, feel, more groove... all the things “their type”are supposed to lack. Then I know guys who play in function and wedding bands who turn up, get a cheque, and go home. I know more who play that show to 80 drunk, unlistening wedding guests with as much commitment and passion as Slash rocking Madison Square Gardens... Personally, that was always my attitude back in my pub, function and wedding band days.

I feel your pain. I do the music for one of the ensembles with which I’m involved. It can take me maybe two or three hours per song to ensure that the chords are completely right, compile them in OnSong and then distribute them in pdf and OnSong format to all members. And still one of the guitar players prefers to “do his own chords” in a format he likes despite having been sent the correct chord sheets like everyone else. Then he gets frustrated in rehearsals and starts sniping at the rest of the musos that “someone’s playing the chords all wrong!” Yes, and guess who it is. EVERY SINGLE TIME. But still he seems incapable of deciding to use my circulated chord sheets as the basis for his Word Art ridden, phantasmagorical creations. Nope, www dot malwarechordsheets dot ru remains his go to source.

To answer the OPs question, the reason is that the internet is dominated by idiots with no comprehension of the phrase “quality assurance” and enough arrogance to presume that their half a#*ed attempt is right. I like to imagine them as 15year old spotty ‘Erberts! For example, for many years the ONLY version of the Doobie Brothers’ classic Long Train Running available on chord and lyric sites was as follows... Spotty ‘Erbertness highlighted in bold... Problem was that it got posted on one lyric site. Then all the other lyric sites data-scraped it and put it on their sites. Then people used it as the basis for half a#*sed attempts at posting the chords. That got data-scraped and reposted... until it was ubiquitous on all the chord sites. We’ll forget the fact that most of these phrases make absolutely no sense in the context of the song or in the context of the English language! QA’d sites like Google Play means that it’s less common than it was but for many years those WERE the words as far as the Internet was concerned. Honestly, I have heard cover bands singing THOSE lyrics. Chord sites, tab sites... all the same principles apply.

Whoops, AS50... I see that they're now digital effects. At £250 from GAK and others they're pretty good value, IMHO.