Owen

Got tickets for Manchester. Yes!

My daughter has a smaller Flea bass and loves it. Is it a small Wall? No. Is it fine and dandy? Yes.

Funny, in all these years I never noticed the "Slang"/Stravinsky reference!

45mm nut width. Like a C width P. Lakland 5'ers are 46mm ish. I always put a little something extra onto any order I do with Thomann. I will be struggling not to take one of these when the next time comes.

[quote name='Bilbo' timestamp='1346754527' post='1792622'] I think, during that time, JP backed it up. Others have passed him since which is as it should be but he made it happen in the same way that others did on their instruments. [/quote] I'm sure this is not what you meant and I am probably reading it wrongly and all that, so don't take this personally Bilbo, but this sentence speaks of the "Music as a contact sport" which we all (including me, but less as I get [s]fatter[/s] older) subscribe to. What Jaco played (certainly with Joni, Metheney, WR and doubtless lots of others) was right for the music. He sat in the weave of what was going on. What always strikes me (and I have been returning to this stuff for 33+ years by now) is that what he gave a piece was what was needed. Would someone with "better" technique bring anything better to the table? No. We get caught up in the chops so easily, but [i]really[/i] it is about the moment and the interplay. Of course there are all sorts of examples of Jaco's stuff that is not what he would have chosen to leave as a legacy if he had had that luxury, but when the circumstances were right (and the good recordings only happen when the circumstances are right), Jaco brought an inherent musicality which was served by his technique, but not subservient to it. If I had his chops then I would be shredding for days on end, just because I could and I would not have the self control not to. His natural bounce/groove/timing is always what does it for me. His note placement was exquisite and really let everyone around him breathe, or be carried along by the momentum of his playing. His ensemble playing was immaculate. He would have been a great on whatever instrument he played because it is about what he was expressing, not the means of how he expressed it. Have others passed him since? Others have bought beautiful stuff as well, but would a pear pass an orange? Ultimately for me it comes down to "does that music move me?" not "wow, stellar technique!". There will always be someone with more technique round the corner, but is Mozart better than Bach? Jaco said what he had to say and I am still hearing it, not at the expense of anyone else but alongside others saying what they have to say. Obv, tonight I am full of it!

[quote name='daflewis' timestamp='1346422781' post='1789083'] Hi chaps, Just to let you know, I deal with the UK for Ehrlund. The prices are £240 for the pickup and £84 for the preamp (including vat and postage) Cheers, Daf [/quote] All hail Daf?

TBF, the cool kids have been playing DB

I have not read any bass comics fior years, but pre-www you have no idea how exciting BP was!

[quote name='Faithless' timestamp='1345753472' post='1781351'] but the thing that goes BEFORE everything else, and I mean EVERYTHING, is being able to [b]play[/b]. You Have to be able to improvise, you have to have your chops high up in there, so that you pull out ANY stuff, that might come in; know (and be able to play) different styles, etc... but first of all, it's all about playing - it doesn't matter how hard you network, and how many cats you might get to know, but if your playing is not happening, then you won't get there. [/quote] True, but you also need to know when to not spread the chops on thick. I have no chops (blazing solos, triplet slapping/tapping etc) to speak of (even less than I ever had) but in my experience of session work, what MDs want is a solid bass line to build everything else on. I have depped work out in the past and gone in for the next session with the same guys and been welcomed back because I did not have an opinion about everything that was happening and did not want to share my ideas all the time. Rest assured, I have an opinion about everything that happens in a session and could save a lot of time by pointing out why something is not working etc etc, but that is not what I am being paid for. That is the MD's gig and I want him/her to hire me for the next session cos I made the project sound good with my playing not never phone me again cos I made him look like an incompotent eejit. Some of them are, but they are still the ones who do the phoning. In 25 years of doing studio work I have never been called upon to spend time up where the guitarist's register is. That is what MDs use guitarists for. Of course there are exceptions to every rule. Reading? I have yet to meet an actor who is cast for a part and just says "I don't need the script, I will just pick it up from the DVD". Obv there are monster players who do not read but never stop working. Pino is the obvious one. But in the bread and butter world of studio work why would anyone pay for half an hour studio time + half an hour of 8 other player's time to teach anyone a song when they could plonk a part in front of someone else and just say "wait for the red light and then play after 1 bar of click'? Opinioinated? Moi?

[quote name='dood' timestamp='1342707116' post='1739680'] Wow! That's looking great!! - Funnily I was looking at a 1212/6/1. I'm terrible with a saw though!!! I'd be interested to hear about the overall cost and maybe included in the conversation with MM20 above? I'm certainly shopping around for a 2x12 solution right now. [/quote] I also need to be included in any behind the scenes discussions here.

[quote name='sime17' timestamp='1341620520' post='1722074'] This ^^ - Dude, long lost twin or what! Small hands mean 34" for me and it can still have a good B. But dude -I have a real headstock snobbery thing going on. Of the Fender-style instruments' headstocks: Fender=standard classic. EBMM=good. Lakland=ok-to-good. Ibanez Blazer=cool twist. Sandberg Californias=just about pulls it off. Overwater J=good. Tanglewater J=just allright. Yamaha BB=meh. G+L=too fussy. Sadowsky=limp. Alleva Coppolo=awful (like a Fender with a sock placed over it). Lull=wanna like em but the headstock=just no. It's all about the curve and the knob on the end, or lack thereof. How can some get it so wrong? Have I gone too far with this? Should I get my coat? [/quote] This .

Mmmmmmmmm C0

The P series Yamaha ones are built for Roadies!

Last time I ran a pre/power rack I used a Peavey. It was superb, dirt cheap and light as a feather. That is the combination you are looking for

[quote name='jwbassman' timestamp='1341584797' post='1721413'] Thanks for the suggestions guys - might have to do a bit more amp shopping!! [/quote] Now THAT'S living!

Tonally? No idea. However I would LOVE one of those leg rests on my Streamliner.

I have put them on every 5 string I have owned for the past 15 years (I am not going to count). It works fine and dandy, there are no tension issues going up and down and you get to play lower notes. What's not to love? I only wish I could find one for my Status.

My daughter has a short scale one. Is it a Sei or Sadowsky? Obv not. It is fine and dandy.