Beedster

That’s a tough break 😕

I guess there is an upside of doing it yourself which is that by moving slowly and systematically you can stop at the point at which the neck feels right to you, which might be a long way before all the varnish is off (i.e., a ‘played in’ versus ‘stripped’ feel) 👍

This, for so many reasons 👍

End of an era gig, as the might goes down, the 60’s and 70’s and all they represented move into the 80’s

This

Thanks Mick, a few of us did a trial run about 12 years ago but kids, work, and then lockdown got in the way. It was resurrected over a few pints mid last year, and is really very satisfying. It's resolutely about the album/LP as an entity, but we're most certainly not a tribute act we play the album it as we play it on feel and instinct, not trying to replicate the exact sound. But we play it in album order, no deviations, no filler/guest tracks, no encore etc (which with BoB presents something of a challenge given the findal track on the album). Given our recent comms you might be able to take a guess at number 3 in the list, while number 2 is a significant departure from Dylan. A funny thing about it is just how much we've all come to appreciate Blonde on Blonde as an absolute work of art, passion, and vision, as opposed to a collection of mid-60 folk rock songs 👍

First show for BandKamp, something of a loose coalition of musos. We rehearse an album, gig it once and only once, and then move on, no matter how good (or bad) it was. We're starting with the glorious Blonde on Blonde, timed for the Chalomet movie opening the same weekend. 4.00 Sunday afternoon slot feels really nice 👍

Both mate, both 👍

Mine...... Looks a whole lot better in situ, i.e., on top of the rather lovely and rather large DropHead 15 cab, but still a work of art even on its own. Weighs slightly more than Luxembourg 👍

I remember it well mate, glad you still have it 🙏

Had a lovely two hours of therapy over beer and pizza in the Toon (as our Geordie singer calls it) with Walshy yesterday. Almost as an afterthought some gear tokens and instruments were exchanged, which as ever was nice and simple. Looking forward to the next one Walshy mate 👍

I’ll be needing that bass first 😆

And taste. The only compliment I’ve ever received re my bass playing that I felt I earned was from a BL who said ‘You instinctively know when not to play’. Still makes me smile 🙂

Shit you’d have needed to charge me £250 extra 🤔

There’s a lot of truth and sense in that 👍

Not very scientific….? Au contraire mon ami, the essence of science is systematic and controlled trial and error. You are a scientist 👍

Yep, I set up different basses as a function of function of purpose, higher action and flats for Motown and Soul, low action and rounds for rock, strings almost touching fretboard at nut on fretless….

This ^

I met one of the top session players when he came to my house to buy a bass (yes, I sold one). Even my youngest daughter who was four at the time said afterwards ‘Dad, he was really good at bass wasn’t he?’. And yes, he really was good at bass, made me realise just how far I’d need to go to even think about a pro career. And playing bass is only one of many skillsets required 🙂

Expensive and ultimately unsatisfactory experiment I suspect 😕

I had a soundpost go down in a rehearsal and couldn't find anyone to the work without a 4+ week wait, so I set about doing it myself. Not only did I do it and make a decent job of it (it's still up two years later), but I learned how moving it around changes the characteristics of the bass itself. Us UPs (Upright People) can (allegedly/so I'm told) spend a lot of money on strings, PUPs, mics, preamps, and amps in the pursuit of perfect tone, while in my case 4-hours with a pair of kitchen forks, some string, and an as it transpired completely unnecessary first aid kit, was an equally interesting and varied journey, albeit cheaper 👍

It's OK, you're among friends, we all know the rules 🤔