ezbass

It’s still just pop music though. Don’t get me wrong, I really like pop music. Don’t get me started on musicals and the unoriginality of a great many of the modern ones, either stage or film. Just a soundtrack of previously released material with a flimsy storyline. Full disclosure - I can count on the fingers of one hand the musicals I actually like. I’m not a fan.

If the front pages of the press are anything to go by, ABBA are held in the same, almost deified league as the royal family, you can’t move for big pictures of them in those motion capture suits. Never been a fan personally and the reverence they are held in escapes me. I now have Take A Chance as an ear worm; dammit!

Hearing 4 Way Street (CSNY live) in my teens turned me onto guitar. Teach Your Children was the first thing I learnt (incorrectly). The first CSN album is a stunning debut and the follow up of Deja Vu, with Neil Young (who I don’t really like) is equally iconic. @wateroftyne says, the best of isn’t a bad place to start. Steven Stills live still remains a firm favourite (he really is a very talented chap).

Ooh, I like those. If they do bridges and other hardware in that finish, I’d go with that. YMMV.

Both of the above ^^^ As soon as you mentioned it not occurring when slapping on the fretboard my immediate thought was pole piece contact.

The End - The Doors

There’s the glider capo that Michael Manring has used…

Because they’re Rickenbacker and they do it their way and ‘damn the torpedoes’. Their attitude to innovation and change, or rather their intransigence, seems to be detrimental IMO.

Now, you know that’s not what I meant. You’re just being silly, whereas I was being ‘serious’* and trying to prevent disquiet amongst the BC ranks. * *

There’s jack all in Wapping these days too.

Aarrrgh! My eyes! Truly horrible! Quick, send it me to so I can dispose of it humanely before it offends any others.

I knew I was stating the obvious. I’ll get my coat. 😆

Without wanting to point out the obvious, for any info about the build of your very nice bass or potential repairs to it, I’d contact Martin at The Gallery, given that he built it and sold it originally. https://thebassgallery.com/pages/workshop

You bought strings locally, so you must’ve been in Rock Bottom or Martin Phelps, or did you venture to GG in Epsom? In answer to your question, no, that hasn’t happened to me. However, I have had moments when I’ve played something and just have to have that tone in my life. The last time it happen was with a Ric 4003s. I eventually bought it but, after a good while being gigged, I realised that its other potential use as a boat anchor was too much for my shoulders and neck and it had to go, sadly.

Having had a quick play in Snapseed and brushing out the alternative options, I think, if the body is staying natural, chrome. However, if you’re staining the body a colour, then the Strat knobs would work very nicely.

Sorry, I mean in conjunction with the whole body shape.

I’d like to see a picture of the whole body to get a sense of how they’d be in situ.

This ^^^ This has always been my approach to string gauge choice.

Works for me and I’m not a Beatles fan. Preston’s organ playing is great.

The power of BC - love it! More of this, less of that shouty bollox.

He needs to sue his parents, not the band, but there's no real money in that (what's that sound? Ah, the dry rustle of lawyers’ hands being rubbed together).

I read this story on FB earlier (this is a direct quote, it is someone else writing in the first person, not me): "Twenty years ago, Charlie Watts did a week at Ronnie Scott's with his tentet. A hell of a line-up. Henry Lowther, Gerard Presencer, Mark Nightingale, Peter King, Julian Arguelles, Evan Parker, Brian Lemon. EVAN PARKER AND BRIAN LEMON in the same band. That's a combination that nobody would think of booking. Except for Charlie Watts. Why? Because that's who he liked and who he wanted. And of course, always, always, his childhood mate on bass, the wonderful, endlessly versatile Dave Green. My mate Joel Taylor, who's now high up on the Metro paper, was then a junior reporter at the Camden New Journal. He rang me "Want to come to Ronnie's free with me next week? I'm reviewing Charlie Watts". My response was swift and decisive. So the following week, there we were. We ordered a bottle of wine. When it arrived, we went to pay. "That's on the house." Nice. Second bottle. Same reply. Third bottle. You get the idea. Eventually, we needed to soak some of this up. We ordered a basket of chips. "That'll be £3.50". The following week, I saw Joel for a pint and he said "I've got to the bottom of the wine thing. Cindy Hacker (one of the club management, who handled the PR side) explained that Charlie Watts had said he'd foot the drinks bill of every journalist who came to see the show. When it came to the chips, we were on our own". I should add that it was a great night. That line-up delivered, and the drummer wasn't too shabby. Joel has reminded me tonight that, touchingly, Charlie peered round the curtain just before they went on to see if anyone was in. It was a sell-out for the whole run. It's clear that was the sort of man Charlie Watts was. Someone (possibly either Pete Cater or Brian Bennett) told me that when Ronnie and Pete King were having trouble, which happened a lot, due to Soho landlords and stuff, Charlie was always there. He'd put a band in for a week, pay them out of his own pocket and let Ronnie and Pete keep the door and the bar takings. He saved the club a few times that way. He played rock for a living, but played jazz for pleasure, and his way of paying it all back was to keep the premier jazz venue in the UK afloat, and to keep his mates in well-paid work. It's a sad day. Being a drummer is to be in the finest club of all, and we've lost one of the very best of all of us." Charlie Watts, a real class act.

😱 Oh God! I’d forgotten about that. A travesty against the acting profession.

The BBC says it’s confirmed by his publicist. 😢