Burns-bass

I sae the Bryant there. It’s definitely one of his, shame about the inlays which I don’t really like. Guess it could be removed without my much hassle.

We’re the same, apart from never having met... Bryant basses are a really accessible way to get a beautiful sounding instrument. Construction is a bit rustic and the bridges are always too small apparently, but they’re amazing instruments for the price and likely to appreciate in value too.

I had exactly the same experience. I still use my ply bass as the go-to instrument for lugging to practices and jam sessions but the reality is that it’s a pale imitation of my Bryant bass. The Bryant is set up wonderfully (Martin Penning) and makes the most beautiful noise. It’s so much better to play than the ply bass but impractical to have around the house with two toddlers. Total cost was about £4.5k with set up, new strings and a pickup but it’s worth it. If you cant afford that it don’t want to spend that, then perhaps reshooting the fingerboard might help with the action? That worked for the ply bass, it’s now a different beast.

Buying this and importing it from Mexico would be crazy.

His hair.

If Scott knows one thing it’s what his audience wants to hear. It’s not entirely my thing but his tone is fantastic, and the tune is obviously just a way for him to bust out his chops for the lads. Drummer is a force of nature too. Personally I wouldn’t want to listen to a bass virtuoso noodling for hours anymore, but I used to love it. There are enough notes on the fretboard for everyone. If he goes high, you go low etc.

Very little when you plug it into an amp to be honest. The only issue is weight - Sires can be very heavy.

I played with him a couple of times. Thoroughly lovely chap, and very very funny!

Be useful with the dots.

Absolutely Chris. My grandad had manic depression and had fits of energy where he’d overstretch himself, then pits in which he’d sit mute for weeks on end. I work with a number of mental health trusts and don’t mean to perpetuate any stigma around the issue.

I use More Than and my 1966 Jazz is insures up to £10k for about £30, the other instruments all add up to about £60. I’m very happy with them, they’ve been absolutely brilliant.

Nah, if you read the whole thread (or even a snapshot of it) it’s clear the guy has his problems. It’s not a pejorative either, I think it’s quite sad that this has happened.

I love the way his passive aggressive message implies the problem lies with the customer rather than him. He’s obviously got mental health problems, that comes across quite clearly.

Guitars are an illiquid asset in that you need to find a buyer to crystallise any gains - which may be easier said than done... Anyone who has studied or been involved in the market will have seen how the value of guitars dipped (or crashed, depending) after the 2008 crash. It shows how fragile it all is. If consumer confidence dies the bottom of the market can fall out. They’re an asset that has little intrinsic value, which is why the market is so fragile. Personally I’d avoid viewing guitars as an investment but treat them (as they should be) as instruments of enjoyment. What cemented how stupid this fetishisation of originality around Fender guitars was when I shifted to DB. It quickly became clear that the originality of even the most prized instruments was secondary to how well it plays and sounds.

This is the beauty of music. A few people in a room together who’ve never met making tunes. Enjoy!

Agreed it’s a car boot special with the world intonation I imagine!

Two basses - 66 candy red jazz and a modern Mex Jazz bass. Two uprights (60s Excelsior and Bryant). The happiest I’ve ever been with my gear... Less is definitely more!

Me too. I wouldn’t worry about it too much...

Absolutely is... I’ve had some great bargains there.

Jazz bass!

Seems like a pretty awful affair to me!

I had a Spitfire guard which I sold on here for about £100 (if my memory serves me correctly). It was nicely made but nothing like the depth of a real pre cbs tort guard.

The one issue he will face is that there’s not much musical ground to plough once you’ve tackled the fundamentals. There’s only so much you can do around basic major/minor stuff which is of interest to most people. When you start getting into the more complex stuff the audience becomes more and more niche. I like Scott’s focus on set improvement. He’s not trying to sell the dream of becoming a pro session musician, merely giving you the skills to play better.