Paul S

This. No-one has a gun to your head. If it isn't fun, stop tormenting yourself and try something else that is.

Yeah. Gone back again. Don't rub it in!

This one. A cocktail of seller's remorse and the constant stumbling over my advert when Googling Yamaha SB-35 for sale One appeared on eBay recently but it was nearly 1kg heavier.

I made both these upgrades to an Antoria EB-3 and can only second them. The Supertone bridge is a work of art , imo, and the Artec mudbucker is absolutely fabulous. But do check the dimensions.

On the one I bought the pad was detatchable. I unscrewed it from the pad and screwed it to the back of the Stagg and then just kind of slide it into place then lock it with the knurly thing. The imporant bit was finding the balance point. Does that make sense?

AFAIR Marathons hadn't come out when the 'Coconut? I'd rather have a Bounty' ads were screened. in B&W I think.

I'd rather have a Bounty Does that age me?

Ah, but what you don't know is that Russ Binky Bass, as with many Basildonians, has thirteen fingers on his fretting hand. Makes sense now.

I've got one of those cute little Harley Benton PB Shorty basses. Short scale, J width at the nut, sounds like a precision to me. I'd say the lack of timber doesn't affect the timbre, personally.

The Epiphone case is for SG, EB-0 and also long scale EB-3 apparently, so if it fits a long scale it should fit anything much else with that body shape.

hah. I'd say you need to find a different luthier. I use nothing but TI Flats - first thing I do when I get a new bass is stick a set of these on. A casual glance at my feedback will indicate how many basses that is = a lot of strings. Never had a duff one, they have been enjoyably consistent. Sound lush on a LP Jnr DC, don't they!

I had a thing for skinny necked 5ers and the skinniest I had were a Hohner BV and Peavey Foundation 5. the latter very tight spacing at both the nut and the bridge. Edit - I think the slimmest was this one. Indeed this very bass - Danny found it for me in Japan.

About here

I liked the early RnB Quo period a lot. When they first made the transition from psychodelic pop like Pictures of Matchstick Men, Like Ice In The Sun etc and started down the road of a heavy-ish blues rock. I first saw them in, I think, 1972 when they had just released Paper Plane as a single. They had already released the albums Ma Kelley's Greasy Spoon and Dog of Two Head, Piledriver was current. I saw them live several times in the early to mid 70s and they were, at that time, fresh, energetic and playing RnB with a passion. The main issue I have is that within that rather limited format there is only so far you can explore. Introduce a 4th chord now and then, perhaps. And so by the time the band disintegrated and 'Big Al' left they had little left to give IMO - the more they became 'an institution' the more they became a parody of themselves and the more I lost interest. But tunes like 'Don't Waste My Time' and 'Big Fat Mama' are fabulous driving rock n roll tunes IMO.

Agreed. Looks like it's been roughed up on one side with sand paper, too. 😊

I can understand that. To keep explaining it to the dinner guests must be something of a chore. Love the retro styling of this. Can you do sound bites, Stew?

What the canal is it?

Jason bought my marooschick Jake 5 in the easiest of transactions. Great comms, nice friendly chap Met half way, had a good natter. Enjoy the bass, sir.

Several spring to mind but the biggest differential between expectation and reality was Michael McDonald when he came over a couple of years ago. I'd always considered his effortless falsetto to be one of the highlights of the music that formed the background to my life - a little magic fairly dust that he could sprinkle onto any tune and raise it to another level. He had totally lost that ability and had to strain for the high notes, completely changing his voice to a kind of tight screech. Mrs S and I left before he massacred any of our favourite tunes. I really wish we hadn't gone.

Got a built in woofer.