chris_b

Taking Overwater as an example, if your design goals are to produce a Precision or Jazz shaped bass then you need a unique head stock to differentiate your instrument from the others. If your bass has a unique body shape then the design of the headstock isn't as important. Overwater are a quality act and the headstocks look fine to me. They are recognisable at a distance, which is what they were designed to do.

Jeez! He's not going to sell many amps or cabs at those prices!!

Too late. . . he already is.

+1 I have some fantastic basses but the last thing I'd do would be to hang them on the wall! Dad's idea is the best and most sensible and most practical.

Ugly is in the eye of the beholder. As long as I can get a good sound out of it then, for me, any instrument is up for consideration. On the other hand, head stocks I don't rate are the Kubicki Factor 5, or the extended B string design that Fodera occasionally use and for practical reasons the nice looking angled back Gibson head stocks are a bad design. If the best sounding bass in the world was the ugliest and I could afford it, I'm sure I'd own at least one.

No one becomes mega successful in the entertainment business by accident or without ability and talent. You're doing that thing again. . . confusing what you like with what is good, or in this case a job well done.

Michael Jackson said the inspiration for Billie Jean was hearing the Hall and Oates song I Can't Go For That. That Ed Sheeran thing again!! Don't confuse what you like with what is good.

If you are under time pressure to learn a song, firstly decide if the part you're struggling over is important to the song or not. If it isn't then you can either work on what's troubling you or play something else in its place. If you're short on time, get the song in shape so that you can play it in the band. Then go back and look at what is stopping you from playing the bit you changed. It's a "hole" in your technique so work out why it's a problem. Is it speed, fingers, right hand, left hand? Fix it at your own pace and add it to the song when you are comfortable. Slow the line down and break it into smaller sections, even down to a bar, and when you understand it play slowly putting it all back together again. For immigrant Song, work out the framework but I doubt if JPJ played it the same every gig, so don't try to lean every note in the sections where he's jamming. As a starter just simplify it down to the basic feel, slow it down, then build up playing the root notes in tempo until you get used to playing it for 5 mins at that intensity. When you can do that start to extend and expand what you are playing.

Well if he ever retells those stories about us I'm tearing his page out of my address book.

+1

How close does it have to be? I've learnt stuff (from a link sent by the guitarist) then discovered that he had his own version!

The Bergantino website has a number for direct sales.

If your band doesn't care what you sound like then you're playing in the wrong band, with a bunch of talentless Mr and Mrs Silly Billy, who have their ears painted on. Tonight the band leader told me I sounded good and 5 people from the audience came up and complimented me. Being noticed and liked is one of the reasons I'm in a band and standing on a stage. Audiences don't have to know about me but my bands certainly do. If people ignore you maybe you don't sound good. Sound better and make them appreciate you.

These days I don't play with amateurs, but I've had nonsense like this in the past. I'd have said something to let him know he was a Richard.

VW has highlighted a difference between those like himself and most of us. They are learning to play as much music on their basses as they can. Many of the other bass players in the world learn to play tunes and songs. Not quite the same thing. [snippet]I used to go to a club in Brussels called the Cbmoll. That's C flat minor.[/snippet]

There are online metronomes that can provide any timing.

I believe VW calls it double thumbing. There's not much call for it in my bass world!

The Two10/Four10 etc cabs are supposed to behave like sealed cabs, and were designed to work well with valve amps.

+1

I don't know what 210 cab you have but a second would enhance your sound and volume nicely. IMO 2 always sound better than 1. You can daisy chain 2 8 ohm cabs an your amp will be happy to run at 4 ohms. It's a different discussion if you have space constraints and/or want a 1 cab solution.

That's the way isn't it. Companies hang on and ride the exchange rate fluctuations. Watching their margins being eroded and profits being squeezed. Then they finally have to deal with it. . . and take the flack.

Sorry!!

Try a set of GHS Precision Flats. I rate these strings on a P bass.

Last month I gigged with a guitarist who I haven't played with for nearly 13 years. I laughed when he sent the set list over. Bar 2 tunes it was the same list that I gigged all those years ago. IME he is not unique in having such a slow turnover of songs. I guess the moral is to choose good songs, play them well and only go back to the venue 2 times a year.

Not good news but currently BF cabs can cost less than many other quality cabs, for instance Mesa, Aguilar and Genzler. They are a better buy than some cabs that are cheaper but in order to get the equivalent performance you'd have to buy 2. Sadly, Brexit is going to screw with lots of companies price lists especially if they use imported components in their products and the economy won't see the worst of it for several years. This was an entirely foreseeable situation pre Referendum.