chris_b

The carnet also prevented you from buying or selling gear abroad, and possibly avoiding paying taxes in the process.

IMO it's a bad idea to burn your bridges. One of the guys might join another band in a years time and be looking for a bassist. So always leave amicably.

OK. misunderstood by me.

I believe nothing changes now for 2 years, while the real discussions about leaving take place. After that, we become the 51st state.

Like roundwound strings. Who needs those? Flatwound strings, now that's the sound of a bass! Or who needs pneumatic tyres when solid rubber tyres work? BBOT bridges sound fine. They were cutting edge technology when they were introduced. Then amps and cabs started to evolve and the possibility of making something better arose. Upgrading a bridge doesn't imply the previous version sounded bad, but we are an inventive lot, so if we can make things "better" we will, and sometimes "better" really does sound better. ps spelling, again!!!

Anything Bob Dylan wrote. The studio version of this was getting played a lot by the soldiers when I was playing the US bases in Germany in the early 70's. When being sent to Vietnam was a real possibility for many of them.

CITES changed but unless you know what replaced it you'd better find out before you put it to the test. You could still need official paperwork.

People were upgrading bridges long before the internet was even a twinkle in Berners-Lee's eye. The idea is that more mass in the bridge gives a better transference of energy from the string into the body and back again. Thus improving the tone. If you are recording then this might be a worthy upgrade, depends on your sound, but in a semi-pro band crashing through the usual fare it's probably not worth the trouble.

On the next rehearsal you should. Arrive knowing and being able to play the original, Willie Dixon on bass and Fred Below on drums, and then you'll find it easier to adapt to the arrangement the bandleader wants. I've played with good players who find it difficult to explain what they are doing and what they want out of the rest of the band. If they are good players (or a band leader) you meet them in the middle, or where ever they can get to. I've played this with short and long changes. It works both ways. The bass line can be an 8 in the bar rock and roll piano left hand line or just a 4 in the bar, as per Dixon's original part.

I used to drive past his house in Chiswick. I'm sure I saw him waving at me from behind the curtains.

Sounds like the band leader is telling you he wants a short change, ie up to the 4th for the second bar. A long change would stay on the root for 4 bars before moving to the 4th.

. . . . . . that's what the ashtrays are for.

You want to groove? Take a listen to listen to this. . . . . . . . https://www.youtube.com/watch?v=m4XI6LXCsH8

So have I. Currently they are set up at home and I'm putting my P bass and TH500 through them. Great sound at low volume.

I heard Linus27 playing an Ashdown (not sure of the model) through my Two10 and I was surprised how good it sounded.

I used Aguilar Th500 and AG700 amps with my Two10's and they sounded very, very good.

No. When I bought my first 5 I tried switching back and forth, but it was more confusing that it was worth so I put the 4 in the case (it's still there) and focussed on getting the 5 right. My 5 string basses can do it all. They are easier to play, sound better and are more flexible than my 4, so after getting up to speed I realised there was no point in getting the 4 out again. So I haven't. YMMV

There's so much more. . . . Ry Cooder Good Thing Betty Davis Anti Love Song As has been said, if the timing is only a little bit off the groove evaporates.

If your amp has one output socket just make sure your cab has 2. Most cabs have 2 speakons these days. Then you don't need to worry about splitter cables or when they are running in series or parallel. Just buy a pukka branded cable from a proper shop and it will work. If you start with a 210 I'd audition another 210 as well as a 115. Depending on what you buy, the 10's could be louder and go lower than the 15. I ran a 115 and 210 and then replaced it with a 112 and 210. The second rig had a better, wider tone, was every bit as loud and was smaller and lighter. Only valve amps need to be connected to a cab, and these days some of them don't. SS and D class don't need a cab and can be used with headphones only.

A leather scratch plate would take a lot of maintenance to prevent it from staining and drying out and cracking, but I think they look cool. Wal made their JG basses of the mid 70's with leather scratch plates. http://walbasshistory.blogspot.com/p/blog-page_28.html

This music works because of syncopation. Get 3 good rhythms going and interlocking and there you have it. Listen to Betty Wright's Clean Up Woman and Bobby Patterson's How Do You Spell Love. They get it exactly right. I don't know why, but while I really should like the Dap KIngs, I never quite get there.

In many decades of playing bass I have never adjusted a truss rod. I don't get into the "fiddling" thing with my gear. I have the bass set up when I buy it and never touch it after that. If the bass was set up at the factory then I wouldn't need to do that, or even think about micro managing the thing. I'd just play it. I have, very occasionally, altered the bridge saddles and that is all the adjustment I've ever needed to do. It's telling that Modulus and Status say their basses don't need truss rods. IMO it's disappointing that these manufacturers had to add truss rods when they weren't needed just to make Joe Public happy!!!

Interesting idea, replacing the truss rod with a carbon block, for a rock solid neck that never needs adjusting. Sounds like the next bass "thing".

My point is that to talk about Sadowsky basses as if they are just Fenders with some work done on them is to miss the point. My Lull Precision is really Mike Lull making the Fender that Fender should/could be making. He's making the equivalent of a vintage Fender, just better made. Sadowsky aren't making a Fender at all. They are totally his take on a bass. . . . except, of course, for the shape. Small differences I know and if you can't hear those differences then they won't be important.

Sadowsky basses are are Roger Sadowsky's own basses that just happen to be Fender shaped. He kept the shape due to the constraints of the New York studio world, ie demanding that the bass players only use Fender basses. They are not "super" Fenders, they are much more than that.