Burns-bass

This.

I agree 100%. When things go wrong banks often get it in the neck. My dad isn’t the most technologically literate person but his bank has been great in protecting him from fraud.

This is the oldest scam in the book. I remember seeing one like this advertised in Pembrokeshire and I just happened to be in Pembrokeshire on holiday. They then told me it was in Jersey. It's 100% a scam. I'm really impressed your bank would refuse to send the money.

You’ve never seen my soldering, but it’s really is bad. Wouldn’t have been a red coloured wire either. Its just all shades of wrong this one.

String choice depends on personal preference. For even lower tension strings you can get a set of 4/4 Weichs. I use those and really like them.

Nail on the head. What's odd is that I had the same query a little earlier this morning. (Personally, I really don't like the strings and want to change them).

Used to love the Bose shop. They spent about 2 hours with my dad choosing headphones and a Bluetooth speaker. He spent about £500 and was over the moon with them. Thankfully we still have Richer Sounds, but I know what you mean about the convenience of Amazon.

This all escalated quickly… Amazon use all manner of tricks to enable them to undercut competitors. Tax dodging, Union busting, zero hours contracts - they’re not a good company. How you spend your money reflects to some extent your values and beliefs. (I have bought stuff from Amazon in the past but try not to!)

Luck is a massive part of it, too. Loads of musicians I know who have been in successful bands have just been in the right place at the right time. I must say I was envious in the past, but that’s immaturity speaking. Now I’m happy for anyone that’s doing what they love.

Really good point. I found the Innovations to be quite “flappy” and there was definite buzz (not the growl that you want).

I think he’s absolutely right. Do it because you love it and take the opportunities when they come. It’ll be a great ride. When I was 18 I wanted to be a full time professional, but I realised I’d likely end up spending my life playing Grease or whatever for a few quid it lost its appeal. I did lots of gigs with heritage acts (I guess you’d call them) stacked full of hired hands who gave me an honest insight into life on the road. I’m pretty sure I wouldn’t have been good enough either. Mostly though lack of application (I am lazy). I’m always amazed to see great players and still love the buzz of playing live. I do have a slight problem with music colleges that peddle a dream that, for almost all won’t ever come true.

Have you come to DB from electric bass? I ask as the string heights here don’t seem particularly high here. There may be a technique issue that’s impacting your sound. In terms of playing rockabilly slap, I’m not sure a slight buzz is going to affect the sound too much (the percussive element is a huge part of the sound, after all). Theres a difference if the note is choking out or there’s a bit of percussive noise. I play high tempo blues stuff and I’m forever making percussive noises and it’s very much encouraged.

I love my dad dearly but it reminds me of one of his stories. I also thought the punchline was going to be “super rich Joe Bonamassa sent it back as a present” - but no. Business first I guess.

We’re veering into the age old “do older instruments sound better” - and I’m in the no camp. I really just don’t believe it unless you’re dealing with something like an antique double bass. And they genuinely do make them from the same stuff in mostly the same ways. The idea that manufacturing over time gets worse not better is just silly. I’m talking from experience (but my experience, which of course isn’t universal…) Vintage instruments are mostly about nostalgia and there’s nothing wrong with that whatsoever. People also make lots of money from them too, which is also absolutely fine.

It’s a lovely story. (But he really takes his time getting to the point…)

I think this is the one that was at ATB.

I’ve had a lot of the high price pre-CBS stuff and in the end I’ve not noticed any difference in performance or sound against modern stuff. So much of it is the perceived prestige in owning something old and vintage but 99.9% of your audience doesn’t care a bean. Perhaps there’s something to be said for vintage pickups. I remember showing my dad my candy red jazz bass from 1966. He looked it over and said “looks lovely, but it would be amazing with a new coat of paint…”

I think it’s fantastic. Jazz has been revitalised. There is some incredible jazz musicianship on show in Bristol and you can be wowed for free. One of the reasons I started playing DB was seeing Greg Cordez at a free venue called the Canteen. Have added his sound loud thing here: https://gregcordez.bandcamp.com/album/magnolia I’ll never get near the tone or the confidence of that, but who cares. The journey is the fun bit.

You'd be surprised. In Bristol there's a lot of this sort of jazz stuff. I'm quite partial to a few beers and a listen, too. But I"m more interested in a melodic bass line than busking my way through the changes. Working through that often feels like trying to complete a complex puzzle with no idea of the image you're attempting to complete. Perhaps I should have gone to music school!

Sadly, the 1/4 case was perfect length wise, but the body is too deep so the case is going back for a 1/2 case.

That's true. Distance selling regulations are what's destroying local shops! I used to buy stuff online all the time (including Basschat) but I found that the expectation and reality would rarely match up. Best instruments I've bought (aside from the Grabber I got on here and picked up in a carpark which is sublime) have all been played and tested thoroughly before handing over the money.

Sounds like singers the world over, to be fair.

That's the one. My friend runs the Swan with two necks so it may have been in there, to be fair

Our band booker does all this stuff in January when there are no gigs, it's dark outside and nobody is doing anything else. She gets a list of local festivals and specialist ones that cater for our type of music. Apparently, you need a high quality video of you playing, so we got one of those (a student did it for £250 and was amazing, so we now use him to work for us professionally where he earns substantially more), and some good promo shots. A short band profile is useful too, apparently. Then it's a numbers game. As soon as you've been at one festival and done a good job, things pick up from there. Remember to be respectful (I'm not suggesting you wouldn't, but you know what some bands are like!), and give them time to do their work and select the right bands for the audience.