TrevorR

It does raise some interesting questions tho...

Saw this quoted on another site as a baseline you’d probably lose consciousness from boredom if asked to play. I was looking at the post thinking. Hang on, that bass line is nigh on perfect, the whole heart of the song and for all it’s simplicity one of my faves. In fact, it’s one I’ve quoted to over busy players saying “this is what groove is about. So simple but the way it’s played and works with the drums breathes life into what would otherwise be a pretty dull ballad”. Love this song!

I suspect that you're mischaracterising what's happening here. I've played with loads of guitarists who would find THE guitar only to trade it in a few months later for the new THE guitar. And they were ALL, every single one of the, THE guitar. On the other hand I've played with people who have found one or two or three guitars over their playing lifetime and that's it. In both of the above cases the cost of the guitar was irrelevant. For the guitar flippers, it was the belief that each new guitar would bring guitar nirvana, the post purchase realisation that they all had flaws (real or merely perceived) and a belief that the grass would really be greener the other side of the music shop. The internet and forums like this only makes this worse through ease and availability - and group think. The OP seems to single out the boutique basses for this phenomenon. I've not done a statistical study of this but I'd bet that there are as many Sires and Squiers being flipped as Foderas and F Basses - although maybe not. However, more on the grounds that having a couple of £200 resale value basses kicking around unloved "in case" isn't as economically painful. And to fund the new Ken Smith the Alembic has to go, which replaced the Dingwall that was funded by selling the Fodera which... It would also be interesting to compare a list of those who flip the most expensive basses with those who flip the most mid/lower range basses. I wonder how many names would be common to both and how the number of basses flipped per year would compare... Maybe it's more about being addicted to the new bass buzz? Rather than finding the bass that really suits you and sticking with it - how many "Oh why did I ever sell that XXXXXXXXX. I now realise that my new YYYYYYY isn't have the bass it was..." threads do we see? And how often are they followed by "I've seen these ZZZZZZZZZ basses online, what do you all think?" threads... Anyway, there are a minority of us who provide the Ying to that Yang - me included. I've got a number of relatively expensive, hand built guitars and basses, at least three, possibly four or five, of which count as "boutique" - only a few of which were bought full price, mind you, or back when you could get a good night out, a fish supper and change from a three bob note. My Aria SB700 was my first ever bass back in 1982 - still play it. My Mk 1 Wal was bought in 1992 and it's still my No 1 bass. My Tony Revell custom acoustic bass was bought in 1992. My Brook acoustic was bought in 1999 and still gets played regularly. My Pro Series Wal was bought in 2002 and is more than my No 2 bass, more like my No 1.5. I won my Fylde Gordon Giltrap Signature acoustic (I know, what a lucky so and so) in 2005 and I still love it. I've only ever sold three instruments in 35 years playing (a Squier Jazzerstein project bass, a Yamaha starter electric, and a mid range Washburn acoustic to fund my Brook). I can confidently say that the boutique instruments I've got now aren't going anywhere!!!

Given the choice I’d have these on everything... But Wal don’t sell them separately. Erm, hang on a mo... Nope, my first comment still stands.

Aaah, so you pronounce it “scoon” as in The Stone Of Scone”. Or should that be “The Stoon Of Scone”.

... !

...triplicate post...

There is a simple answer to this question. They are not bass players so a Wooten style thwackety-splackety bass exploration means nothing to them. They want to hear a tune. Preferably a recognisable tune. Even more preferably a tune they know and like. Hence the appreciation for the standard rock cover tunes listed. This is exactly the same reason cover bands play Mustang Sally, Wonderwall and Brown Eyed Girl. Because people like and enjoy listening to them!

Hmmm... as an owner of two MB cabs. I have to disagree. When used entirely on their own they are much too quiet. I much prefer when I use them with an amplifier! Ba-da-da-dum! Tish!

I also find that when I’m loving my sound I tend to play better, or at least am less distracted so more inside the performance. More in the groove. That will contribute to a better performance by the band and to the punters having a better time on some subliminal level. So they may not know why but my tone benefits the punters when it’s good. Yes, it matters to me primarily and I may be the only one who identifies if it’s working or not. But, my sound and my performance is part of the sum of the parts...

For me it’s not so much the width. It’s the profile. Fave necks... Jazz at about 38mm, Wal Mk 1 at about 42 but softly V shaped. Least fave... P bass and Stingray clubby necks, Ricky which just feels funny and, worst of all, D shaped, flat backed Warwicks. Yuk!

Or stick a good quality active circuit like an East or Audere mounted on a Jazz control plate and you can boost the low and mids a bit. I put an Audere in my Frankenjazz and it was a monster!

Ooooh, never knew Bedders had one.

Here you go, Lewis, a little more temptation... or rather 72 temptations and counting...

Get well soon, Dave!

OT but speaking of extinct species... you should all go to see the newNick Park/Aardman cartoon... Early Man. Took the nipper to see it yesterday. Hilarious. You’ll love it given the prevailing sense of humour round here... ”C’mon luv, show us yer tackle!” Slogan on poster lurking in back of shot... Bumsoft Toilet Paper. The world’s No 2 choice.”

Ooooh, Matron!

I know exactly how good a player I am... How good am I? ...I'm alright.

@Highfox I hope you’ll be updating this post in about 2 months time... wink wink

I’ll probably pick up the two CD digipack at £11.99 with the new stereo mix and remastered 1975 mix pus bonus tracks... if only to get the original version of Run With The Fox and Return Of The Fox in CD/digital format finally! Had the 7” and love that song!

Gotta join in the fun... here is my rig run down... Main basses: 1985 Wal Mk 1 Custom Bass (flats) 1979 Wal Pro 2E Bass (flats) And sometimes 1981 Aria SB700 (rounds) (Plus Signature/Build-a-Bass Frankenjazz on permanent loan to a chum, Faith Neptune Titan acoustic bass, Hand built Tony Revell acoustic bass) Pedaltrain pedal board: TC Polytune - Little Lehle switcher -| EHX Bass Soul Food - Morley Dual Bass Wah - EHX Stereo Pulsar Tremolo - Boss CE-2B Chorus |- Tech 21 Sansamp VTDI -> to PA and/or amp T-REX Fuel Tank power supply Amp and Cabs: MarkBass Little Mark LMII (500W) MarkBass Traveler 2x10 cab MarkBass Traveler 1x15 cab Cables by Cleartone/Session & OBBM/Rock-Wire

That is a gorgeous bit of padauk and the matching headstock facing works so well with it. Enjoy when it finally arrives!!!

And perhaps an Aria SB1000 tho, the ones you chose are more First Division iconic than the SBs (much as I love them). Fantastic pic BTW, totally love it.

Just a brief meander OT... nothing to stress about. It has been known to happen on the internet before. I’m sure that normal service will be resumed shortly. Well, you may have three customers for one of your gigs down South in the summer. Been wondering what would make a good first proper gig experience for our 7 year old and the ELO Experience sounds like a good candidate to me. Of course, we could go see Jeff himself but £100 per half decent seat at the O2 and dragging an over-tired, hyped up boy back home on tubes and trains at nearly midnight kinda take the shine off that idea. ___________________________________________________________ Now back on topic... I quite enjoyed private parties and corporates as a covers gig for all the positives stated above. But you needed to be able to read the room and react/adapt accordingly... it you’d planned a set packed with Oasis which consistently fell flat but they went mental for the Doobies and Elvis track hidden in the middle of the set, drop Wonderwall and Champagne Supernova and up the China Grove, Sweet Home Alabama and Johnny B Goode content... A nicely bevvied audience helps too. Of course we had the opposite too. An audience who wanted to sit and chat. Well, out came the James Taylor stuff for the first two sets which they loved as background music. Then in the last set when they’d had their chats and drinks out came the singalong party stuff and they lapped it up. You really need to play to the room!

Funny, I was just wondering the other week whether Jeff taking to the stage again had dropped the bottom out of The ELO Experience's market or whether the increased profile and scarcity of Wembley/O2 tickets had actually increased demand.