Beedster

Nice 👍

It's a lovely looking thing, nice score @Stompbox 👍

Who knows, we can’t see that side, might be perfect, might be worse. But either way doesn’t necessarily affect stability, playability, or tone 👍

First I would absolutely message John East, he is very helpful Second I would be a little annoyed if I bought a decent bass to find that the electrics had been bodged as appears to be the case, but..... It might not have been the seller who did this, on which basis the seller might be completely unaware of it. I'm one of those people who but a bass and within days pretty much take it apart to check it all over, but lots of people aren't, quite reasonably they just play it, and it it plays OK, everything's OK. Either way, might be worth having a chat with them also, good luck 👍

If you're referring to this on the bass side...... ....I've seen worse. I'm also convinced it makes a whole lot of difference in real terms as long as the neck joint is stable. As a player I find I'm more concerned with the alignment between heel and body on the treble side 👍

Oh, the irony (or in context of Alanis, is it something else...), of Fender releasing an Innovation range.....

I might be up for that thanks for posting 👍

Not any more they don't no. A mate of mine saw them in London and said it really was rather good, seems that things got worse........

And you expected what, Steps, S-Club Seven, Bros? Dylan's been like that since the 70's 😁 I saw him do exactly that, but expecting him to do exactly that was rather impressed by the whole thing. Even in the camera close ups he looked like a character from Michael Bentine's Potty Time, we didn't see his eyes or mouth the whole 2-hours, he managed to maintain his reclusiveness even in front of several thousand people

I think that while there is a significant psychological component (nostalgia/association/mystique/status) there can be no doubt that playing through a well-maintained 1960's B-15 is a special thing. There is just something magical in the combination of voicing, tone, responsiveness, size, and convenience of a B-15 that is unique among bass amps with the exception of those that aim to emulate those very qualities (like the reissues or my Ashdown Drophead). More importantly I think this magic is entirely unrelated to collectibility. I really doubt the same can be said of the Marshall PA, but of course I may be wrong

A road trip with Pasteis de Natas, love it

Or at any price, the comparison with a B-15 above is interesting because there probably isn't one in real terms; B-15 is small enough to sit in a studio and make your bass sound glorious. I guess those 4 x 12 speakers could sit in a rehearsal room but whether the sound they produce would be appreciated by the punters is probably debatable, certainly given the price compared to smaller, lighter and higher quality gear. Yes, they could also sit in a man shed or similar where they might be a talking point. But at £7k I think I'd prefer the people I invite over to my man-shed to talk about a nice late-60's Precision 👍

I guess so 😃 👍

Is that real, the voice is SO bad. No, everything about him is so bad. That badly off his face? Almost like a pissed punter jumped on stage, grabbed the mic and tried to be a rock star until the roadies got him. Frankly I'm pretty impressed by Navarro's restraint leading into it. Wow

Look far enough on the web and you'll find all sorts of crap from even the best of performers though, thread's about live gigs. I'm guessing after over 40 years of gigging he might not be at his best vocally, but it takes more than being a good vocalist to produce a decent gig 👍 My worst, sadly because I love them, was Supergrass at Mount Ephraim. Catchy songs destroyed by lengthy and self-indulgent guitar solos. Even worse they were supported by a Scottish DJ whose name I clearly chose not to process so all thing considered a bad day retrieved only by Kate Nash who was also on the bill

The type of timing, phrasing, and feel for a song you can only gave through years of gigging, rehearsing when you’re nit gigging, and practicing when you’re not doing either of the other two. Glorious player 👍

Just wondering whether there's any cut-off in the value/desirability of 70's Fenders. Probably projecting here, but it seems to me that the early 70's with the 60's-style tort guards can sell for (disproportionally?) higher prices than even the earliest basses with the black guards, which given there might be less than a few months between manufacture date of the instruments - and even taking into account lower prices for later instruments - suggests there might be a preference for the former?

Agreed, it's almost like it's going the other way now, this seems a very low price given the age and condition

My orchestra time was long ago, but I remember that's how I knew I was in tune, you don't hear the pitch, you feel the resonance of the section. It's a lovely feeling, I can occasionally get it playing DB in Jazz/Bluegrass, especially if there's another instrument that needs to 'find' the note, fiddle being the most obvious example. But it's for the same effect that I love doing BVs, that moment when a 3-part harmony comes together perfectly, although rare with my lot, brings that lovely resonance

That was the first big lesson for me years ago; he told me to change my EQ, I said "That's not the sound I'm aiming for" he said "At this stage you just give me the sound that allows us to do anything with it in the mix, that's not what you're giving me at the moment"