Steve Browning

If I still had access to my copy of S8-17 (the old HMC&E industry notes on various businesses, including pubs) I could give you chapter and verse on calculating weighted mark-ups on pubs. It's a long time ago now. Pretty much all I can remember with certainty is that a hairdressing salon should derive income at 9 times the cost of the various shampoos etc.

When you're looking at cost per pint you have to factor in an amount for ullages (the bit left at the bottom of the barrel) and that lost when cleaning out the pipes (bore of the pipe x length of the pipe). As I said earlier, it's complicated to do correctly.

Generally about 30 measures in a 75cl bottle (30 x 25ml). Again, if memory serves. Newfoundland - I was keeping numbers simple. At 80% markup the full cost = 180%. A £4.50 pint = £2 gross profit.

An involved process but not impossible. As a VAT man I used to do it all the time in pubs.

Dredging the darker recesses of my memory. I seem to recall the average mark up of a pint at about 80%. So £2.40 on a £5.40 pint (to keep the numbers easy). From that there are the various overheads etc. As Jack has stated, there are different models, and the profit will differ for each. A tied house will give the worst result.

There does seem to be something of a phenomenon around it. Luckily for me, I never had the imagination for d1cking about on all the available frets and so a Precision did me from day one.

It sounds like an itch you need to scratch, if nothing else. Generally, I would say find the one that you are most comfortable with and then do any electrical mods you feel you need (pickups/wiring). I guess the neck profile is the most critical element of that so do you have any thoughts on that? What width nut would you want? That might point you in a certain direction.

I used to gig with a wonderful saxophonist. Whenever people asked to have a go on his sax, he'd listen very intently and politely and say "of course you can". After a brief pause he'd ask the person how they got to the gig. Inevitably they'd reply they came by car. "ok, you can play my saxophone while I drive your car. I've never learned but I've seen it done". Tended to have the desired effect.

Had a glorious Wilkes 'Stingray' many moons ago and wish I still had it. Would love to find another one somewhere.

This might be due to which model. All used Japanese pickups, but the models with the US suffix had US spec pickups. Not hugely sure how to tell them apart but I have a hunch that the machine heads are an indicator. I think the US models had the large plate machine heads. Someone correct me (and educate me too) if I'm wrong. Although a Precision player, I have owned several JP basses and every one has been excellent. Very consistent QC.

Very well played. sir. Rather ignorantly, I was thinking that he probably knew enough people on the island that he could delay any transport off until any damage was fully paid for.

Cheeky!! 🙂

When I first joined (what was then) Customs and Excise I was told about the Friday afternoon sessions drinking the seized booze while watching the seized films.

Yeah. Tell that McCartney bloke to learn an important lesson!!

Ah ok. I did manage to get that 180 degrees wrong!

The thing here is the difference in whipping one bass off and strapping on the spare and the time taken to change a string (not to mention the sudden gap in the performance while this is taking place). Each to their own, though. No right answer either way.

Hi Ainsley. Apologies for apparently killing your thread.

No experience at all. Sounds like an honest conversation needs to take place. I would have the same doubts that you express, and the same pessimism. Good luck to her for her career choice. We need them more than drummers, it has to be said.

The very bridge I have used myself. Doesn't have the makers name (oo-er) stamped onto it.

Especially if about to play a tango in Paris!!

Dr B May - sorry!!

You could always ask a certain Mr B May for assistance in home grown design and production.

I have swapped the bbot bridges on most of my basses, for Gotoh versions. That was mainly because the Gotoh bridges have the grub screws sitting in tracks. I work on the (theoretical) principle that they are held more firmly. On one occasion, I swapped a bbot for a Fender Hi Mass bridge and the acoustic volume and sustain of the bass were very markedly different. I cannot offer an explanation but can only report what my ears told me.

I've not come across a real Neanderthal (not quite true as I've been there) and haven't refused an offer to borrow my bass, up to now. I always carry a spare and have strings etc to accommodate pretty much any eventuality. Each to their own so my choice is purely mine. I can understand why others would be reluctant.