Steve Browning

I mean no disrespect but that is a bit of a schoolboy error. Limelight is well renowned on this site and it would have been simplicity itself to find out that Limelight don't do that kind of thing. I would be amazed if the original advert had any room for doubt of the authenticity of the instrument (I would think the price itself was a give-away). As I said, I mean no disrespect but the cost of a Limelight relic against the original thing (even a Fender relic) would surely have prompted some questions about the authenticity. Bet it's a great bass too.

Maybe, for clarity, all adverts should, as the very first word, name the manufacturer of any given product. A Limelight would be listed as such and a no-name would also have to be so called. You might want to add that it carries a particular logo but that would be clear (and so would any intention to deceive by default) from any photos. Maybe there should also be a rule that all items for sale have a front and back photo too. People only ask for them anyway.

As well as making the case for Matt I was also going to ask what determined whether the pedal board went on the platform or not. Is it space or did it start off there but moved off. I wondered if the vibration did anything? Not heard of them for that use but love that idea.

You will note I am a little biased but Mesa cannot be beaten, IMHO of course. I anticipate big, fat and warm. Enjoy.

NIce set-up for sure but can you please ask Rory to get Matt Walker back on board because his mum is worried about him.

That's depressing. Not sure why they'd take education over real world experience. Maybe the pool is larger but I would actively avoid students. I am probably being a bit harsh but my view of music students is that you can't be taught what isn't instinctive.

I liked it because it was music based. I'm not sure I got anything out of it particularly. You lose one gig and you consider your options, that would seem pretty obvious. Similarly, I know only too well how important it is to be able to get along with the other guys in the band/touring party because you're together off stage for much longer than you are on-stage. It did underline the element of luck involved (playing ability being a given in that world). The luck is seemingly how you break into that clique in the first place. I imagine there are other cases similar to Billy Joel so not too sure why he was singled out but he didn't come across well.

Two basses for me; 1953 Precision - serial number 0189. It was in excellent condition (it's in the Haynes Fender Bass manual), and 1966 Slab Precision - I had no idea how rare these were at the time and it was also a fantastic bass for recording.

Just finished watching it. Aside from the bassists (who else) I'm not sure I've seen so much over-playing in my entire life.

Given your thread on work pi$$ing you off then this can be seen as nice things happening to nice people being somewhat borne out.

Simon Law at SVL Guitars. He's in Winchester and was Robben Ford's tech, he is currently Pete Townsend's.

Might be!! So I gather. Even in my day it was all the old R'n'B stuff although we did start to introduce some of the SF Sorrow material.

The Pretty Things were at their peak between 1989 to 1995 imho. I think my gig actually been to would have to be the Sensational Alex Harvey Band at Portsmouth Guildhall, don't recall the year.

He Hartley felt a thing.

I had a Mesa Boogie RR 2x18 that stopped the UK from lifting off into the air.

What were the other 512 results?

John Deacon's bass rack with Dbx compressor. That will be late 70's I reckon. http://www.geocities.co.jp/Broadway-Guitar/1391/bass-rack-unit.html

Agree completely. I am a dedicated Rotosound user (and, to declare an interest) endorsee. I love the tone and consistency of the strings. As you say, a home grown product (and we were both born in the same year!!).

Queen, until the synths appeared or maybe Dr Feelgood until Gyp Mayo left.

http://www.normansrareguitars.com/product.php?productid=5987&cat=199&page=1 Rather a nice maple neck at Norm's in LA (not Littlehampton)

I have a recollection of the (tall) bass player in Cockney Rebel using a Mustang on TOTP for Come Up And Make Me Smile. That looked ok.

I think Bach. I remember hearing he could improvise entire fugues which means playing stanzas forward, backwards, upside down etc (the stanza, not the performer!!). As for contemporary musician, I haven't much of an idea really.

'canal, that was clever.

I have always wanted a nice mocha Precision but the main problem I find is the fact that the finish was around in the days when basses weighed as much as a small fishing vessel. They look like they've been dipped in oxtail soup.