Stub Mandrel

"Dynamic pricing" All our clicks suggest interest and push the price up. Leave it in your basket and wait.

By what measure? Seriously what offends do much? The simplicity? Even though the G&L is seen as odd by many, due to it's prominent but functionless pip, that's still subjective.

How do they get away with using Fender logos?

You and the rest of us!

Just worried that you might be worrying about how to transport hem all, only to feel a little deflated if only a handful get all the attention. There's plenty of space, although you may need to squeeze up to create space for a latecomer.

I haven't got one!

Mine seems good, but the two ends are curled up a bit. Might try pouring boiling water over the ends if they don't flattened out, but currently it's in the lounge with a wooden cat on one end and a chair on the other.

Steampunk bridge!

After Friday's gig, I was hoping for a better one at my local club. I went with my usual Bass Terror/AT212 rig and decided to use my effects and my Fender Performer, which hasn't done a full two-set gig since the early 90s. Minor glitch... the power socket on my hpf had failed. Got a glorious tone, and exploited the capabilities of the Tbx more than in the past. We started messing round with killing floor (I had to look up the bass riff) and used it to soundcheck. Attendance was a bit low at first, but perked up for the second half. Apparently a big birthday do in town took away a chunk of the club regulars. But we got a good reception. We played well, I enjoyed the world of difference between flats and last night's skinny Roto 66 40-95s. Inspired me to some creative fills. Encored with Walking by Myself then Al launched into an unanmounced extended version of Killing Floor which turns out to be quite a workout with that burst of sixteenths in nearly every bar when played at breakneck pace. The Precision got the night off. My rig, again... Afterwards my partner said 'that was the first gig I've really listened to your bass all through the gig', and had a couple of compliments, which was nice 😁 so back on track.

Maybe it's a Drongo? Swap in Warman pickups?

Phil Campbell and the Bastard Sons in Phil's hometown of Pontypridd on Friday. Gigging on Saturday. Simply Red in Cardiff on Sunday.

Last night I played a whole gig with my Fender Performer for the first time in three decades. It's 40 about now (actual dates are difficult but somewhere 85-86) do I say it's vintage. I've had it about 35 years, and the tonal range I could get, combined with the ease of playing (Roto 66 40-95 and whisper-thin 24 fret neck) made its an utter joy to play. I'm not sure what my point is, except having a long personal history with it adds to the pleasure, but it's rooted in the reality of the instrument's capabilities.

As an early 60s bass is beyond my means, I have Flea signature jazz and an AVII 1960 precision. The latter, in particular, is supposedly Fender's closest approach to replicating those early basses. Certainly the pickups are very close to the originals in materials, construction and sound. Some may disagree, but I think that, aside from the lovely played-in feel of a vintage instrument, the main appeal of vintage is the joy of owning something with a history to it.

Normal Service Will Be Resumed As Soon As Possible.

Tread carefully. He's the one in a crisis and has tried to help out. If you make him feel like you're having an even bigger one as a result, it adds to his burden and retreating from the situation may be all he's up to.

This is pretty much and Orange. Curiously, practicing with my Performer through my little 10W Joyo, I accidentally found a killer slap tone today.

It is the one thing that really puts me off... the pregnant woman profile. FWIW I like the Sire headstock. All said, this thread has sparked an interest in trying out a G&L.

There will be a good number of people with a few basses each. That's vastly more than most music shops, and I find I gravitate to just a few. I've noticed that however many basses you bring, only one or two get attention. The rest get ignored by everyone except @stewblack who loves the obscure 😁 This year I might address my prejudices and try playing a g&l and a Ric, if there are any present. I may bring my Amplug and headphones as well.

Small venue tonight so I went DI with one of the 'baby' devices. Struggled all first set until nearly done when I realised the PA on my side had the top turned down. Used it to Bluetooth music to the pa in the interval... then struggled for two songs until I realised it had reset and was on a preset, then I got my sound back. All this combined with gigging flats gor the first time, I couldn't relax and felt awkward. Ironically a bass player in the audisaid I had a really good sound... I just wish I could have heard it better. Conclusion... if I go ampless again, I will need IEMs. But it took me decades to find earplugs I like so... Took me a few minutes to pack away, then 50 minutes helping the others...

Yes.

The Toe

For tonight, a very 'compact' but excellent venue, the Bush in Upper Cwmbran. I do have a spare bass and a full rig. I could just go into an emulator and cabsim on the PA... The bitsa bass is neck from a Harley Benton kit, everything else is off the net, body from a blank, Strings are HB flats as they are nicer than Fender ones.

I have a headless that's forty years old. It may have been innovative once but it's vintage now. The hanging mechanism (which shouts 'gimmick' and appears to lack the obvious improvement of gearing the two sides together) could be described as innovative in application if not mechanism. But just being a headless bass is not innovative in any way.

Because they've been around for about 2/3 of the history of the modern electric bass?