Beedster

This had been calling my name quite a lot when I saw the Buzzard

Update on this monster! Looks like the circuit's an easier fix than I'd feared. There's two relatively cheap components - a pot and a battery clip - which are misbehaving, and when they do so at the same time it gets messy. I'm hoping to get the work done by Status and to get the all clear on the circuit from them, but if they're not able to it's apparently a pretty straight forward job. I've rehearsed it a few times, initially with the original strings, then with some flats, and most recently with Lo Riders, and it's a phenomenal, extremely sensitive, versatile, and if needs be, huge sounding instrument. It's everything you'd expect a top-end instrument for Status to be. But.......... ........after rehearing last night I picked up my Precision, and then my SUB, and knew that my growing realisation over the last few weeks that ultimately the Buzzard is not the bass for me was accurate. OK, this thing makes it extremely easy to play some of Entwistle's more demanding parts, and to sound ballpark doing so, but oddly I suspect that owning it has made me more determined to do the early 70's Who material on a Precision. So for Who stuff I'm going to head back to my hybrid Precision - late 70's body, Warmoth (maple cap) neck, Fender '63 PUPs and some nice rattly strings - while keeping a keen eye open for a used Status graphite Precision neck It ain't the destination, it's the journey 👍

Fair point 😆

Bad time of year for business and therefore cashflow, they just don't want money tied up in an instrument that might be hard to sell, the used market is extremely unpredictable at the best of times. There's absolutely no reason for any form of rant on Trustpilot, you asked them the question, they gave you an answer. Let's hope eBay provides a solution 👍

I worry that matter might meet anti-matter if you two meet 🙂

Blimey (or ‘what?’) has been the standard reaction do far among the few we’ve told, which makes it all the more fun. Re noises, our keys player says he needs some time off to do some programming so yes! We jammed track 1 a few weeks back, lovely to play 👍

Ha ha, I wish, that's a way down the line Mick, but it - or Quadrophenia - are going to happen Next is an interesting shift in direction, Odelay by Beck, gigging it in April al going well 👍

Full tube. 200w. Simple. Lovely ❤️

oops

I gigged my Ashdown 200 Drophead with matching 115 for the first time on Sunday and could not have been happier. Tone was fatter and smoother than I'd get for the same volume with SVT but could still bit like an angry Jack Russell when needed. And I have to say, of all the big tube heads, I thing Ashdown take the prize for best aesthetics also, especially mine....

I gigged my Ashdown 200 Drophead for the first time on Saturday and could not have been happier. Tone was fatter and smoother than I'd get for the same volume with SVT but could still bit like an angry Jack Russell when needed. And I have to say, of all the big tube heads, I thing Ashdown take the prize for best aesthetics also, especially mine....

.....which is really the ultimate positive outcome 😀

I agree, vague descriptions, deceptive camera angles, and false information. How for example does a body posses 'killer tone', I strongly suspect that he didn't build up a complete bass around a £20 piece of close-to-firewood junk just to check it's tonal qualities before dismantling and listing the body only for sale......

Agree with the previous reply, people aren't watching to buy, they're watching either out of a form or morbid curiosity or to justify selling their own tat at similar rates. Not only true of junk BTW, just the same with vintage Fenders and explains in part many of the high asking prices (they often don't sell for anything like the optimistic prices at which they're advertised, sellers either accept best offers or find a way of turning an eBay listing into a private sale, but the hight early price often sets the tone for subsequent negotiations)

Good combination (it's what I have on my Jazz) 👍 Best advice I can give is keep a close eye on this form, on eBay, and on Reverb and buy used, aim for Warmoth, Allparts, or Might Mite in that order. If you're buying new, Warmoth are always good but expensive and can't be bought new without importing from the US which adds duties/taxes Allparts are excellent necks 98% of the time but when bought from the UK distributor often come unfinished (risk of uneven frets etc) and without a nut, both of which add time and cost. Mighty Mite are good 80% of the time but if you get a 20%er it could be quite poor. Given you're budget - which is decent - the above's where I'd be looking

Might also be an idea to let us know what bass you have/what neck you need 👍

This is probably quite helpful 👍

The reasons why people might buy stuff are many, complex, and odd. Many sellers rely on the fact that there is a person out there who will buy the most worthless of tat, the seller’s just gotta have a lot of tat and a lot of patience 👍

Many thanks @Muppet, I'll have to investigate further 👍

Re the decision process, I think we’ve all learned from this that it’s not the album, it’s how you play it 👍

Thanks Dave, it's a funny thing, I initially chose Blonde On Blonde because because we had to start somewhere, we wanted to do something that was classic but a little off the beaten track. Despite early reservations, including my own, we came to love it. It's a funny thing, when you have to play the whole album, in recorded order, the potential for disagreement is significantly reduced. And we were a bit worried, the final song is Sad Eyed Lady of the Lowlands is very slow and in textbook terms is the worst song you could ever finish a set with (no encores if you're playing the album and only the album) but the vibe in the room was awesome as one by one, bass, then drums, them Hammond, dropped out leaving that beautiful guitar part soloed and then..... silence. Couldn't have ended better. Next album is, to say the least, a contrast Re video, we chose not to record, the whole thing for us is that it's a moment, we'll never do it again, so we don't want or need to analyse. We've done it, we move on. Lovely to see that around 50% of the room were recording so if we get anything nice - and in which the bass part is even vaguely competent - I'll post here. Thanks for your comments mate 👍

In truth my fave gig for many years, not the most competent or accomplished but extremely satisfying. First outing for BandKamp, a bunch of friends getting together to rehearse an iconic album for 2-3 months, and then gig it live once and once only before moving on to the next iconic album. First was yesterday when we did Dylan's Blonde on Blonde (tying it in with the Chalomet movie) at The Ballroom in Canterbury, which is a lovely venue. We were expecting an audience of about 10 but to our amazement had around 120. We played the set our way and had a ball doing so, and had people dancing; to Dylan! A few folks said the same thing afterwards; I don't really like Dylan but really like your set. Job done 👍 Hard to let the album go as over 3-months we've come to love it, but as we've all agreed, we're not in a relationship with it, we've simply had a brief flirtation. Time to move on

The possible it can do Jack 👍

Poorly done defret, poorly maintained neck overall, and not even a nut installed. Very little real vintage value, £500 would be optimistic. If it stays there long enough some f***ing idiot will have a beer or teo and buy it however 🤔