leroydiamond

With covid related restrictions, my HIFI has been a real source of comfort. Having to restrict my movements, has put my system right at the centre of my world and it has got more use than at any time before. The curse of covid has resulted in me rediscovering some of my favourite music and descovering lots of new stuff. During this period, I have upgraded my kit considerably and would like to hear from fellow members on here about their HIFI exploits. I am a recent convert to streaming on Tidal, but have no plans to abandon CD or vinyl. They all have a place in my world.

I get you, but the 'Still Dangerous' album, which has no overdubs, was recorded in 1977 reveals a stellar performance as does the 'Live and Dangerous' dvd which to the best of my recollection has no 'fixes' on it.

Deep Purple's 'Made in Japan' is just a terrific recording. It cost pittance to record, no overdubs, and captures the band at the very top of their game. It is sonically sensational, though to hear it at its very best, the 'Porky' vinyl cut is a must listen on a proper turntable. It is nearly 50 years since it was recorded, and begs the question what went wrong?, when one listens to many modern rock recordings, that are subjected to brickwall mastering resulting in a sonic mess. Lizzy's 'Live and Dangerous' is also a killer recording. There are definitely overdubs on it and and Visconti's claims about the level of overdubs and fixes is hotly disputed by the bands members. Regardless, it sounds terrific.

Check these ladies out. Terrific

An interesting point of view. I am sure there are numerous luthiers in the UK who could build a bass for a fraction of the cost of a Sadowsky and would be happy to tweak it to the exact needs of the customer ( an option that is not available from Sadowsky). Guess for many, if it does not have Sadowsky on the headstock. Then it can only be so so.

I put a fair few basses through my hands, and have had a Sadowsky NYC for the past 10 years. I purchased it whilst on a trip to the U.S. and it cost me €2.500 at the time, as the dollar was on its knees. There was no real GAS involved in its purchase, as my primary reason for buying it was related to shoulder pain and the light weight of the NYC. For sure, a very nice bass and have gigged it regularly. But OMG a similarly specced Sadowsky NYC nowadadays on this side of the pond, would come in at over €6000!. Give me a break. IMO never worth that outlay on any day. I had the pleasure of trying out a couple of cheaper than chips Sire basses recently and was blown away with the fit, finish, eq, but not the weight. Otherwise I would be more than happy to gig one on any day and could have a dozen of them for €6000 I was going through the basses I have owned in my mind and the standout bass was a Jaydee Roadie II active I purchased new in 1985. What a beauty. Always regretted moving it on but a really well crafted instrument and In this respect, more interesting than the Sadowsky IMO, together with being a more unique design. Looking back it was on the heavy side, which probably led to me retiring that bass. I recently had a look at the Jaydee site and he still makes them. But I am amazed to learn that A Roadie II active would set me back €1650, nearly a quarter the price of a Sadowsky NYC! I wonder is their much GAS on here for a Jaydee roadie active II?. They are terrific instruments but due to their price, do not have the snob value that quite likely adds to the Sadowsky GAS.

Made in Japan literally changed my life. Even today it sounds every bit as brilliant as the day I first heard it back in the 70's. It cost next to nothing to record and no overdubs. The so called 'porky' vinyl pressing listened to on a decent turntable is sonically astonishing, particularly when compared with much of what is released nowadays. Have to say that other than Purpendicular, the Morse era has had little to offer IMO. Gillans voice has been shot for many years now, but at his peak he was astonishing.

Totally agree. Communique and the debut were so refreshing at the time of their release, but as time moved on they lost that thing that made them sound unique

Loved the first two albums. Brilliamly produced. It was as if the band were playing in the corner of my living room. After that I lost all interest.

A necessary benefit in my case. Check out this link to the new metro express line. Can this price be right? https://m.thomann.de/ie/sadowsky_metroexpress_21_hybrid_carmp.htm

My Sadowsky is just over 7lbs and that is significant to me, due to shoulder issues. My previous bass was a Fender Jazz coming in at just over 9lbs, but too heavy for me.

I play a Sadowsky NYC jazz, that I purchaesd in the U.S. some yrars ago when the dollar was alot weaker than it is now A couple of years back, my guitar playing brother purchased a Sire V7 to use in his home studio. I called by one evening and had a play on his cheap as chips Sire. An incredible bass for the money. The fit/ finish was excellent and the pre amp superb. I actually preferred the neck radius over the Sadowsky The only major draw back was the weight. Other than that, I would have had no issues with gigging the Sire.

Hi, On this for sale thread a member who I do not know refers to me as an 'eejit' I think this is inappropriate and also derails the thread. I do not want to further derail the thread by responding. Preferably I would like the thread tidied up with the 'eejit' reference removed. Many thanks Gerry

Have not picked up a bass in 18 months after 40 years of gigging. Had a residency for over 10 years that ticked alot of boxes and paid well, but once that finished, it felt like the right time to quit. Tried playing some other venues but the hunger was gone and the fact that these venues paid less than I was getting 25 years ago sealed the deal. Thought I would miss gigging, as it had been part of my life for 40 years, but not a bit. Weekends free and a good lady to spend them with has been fantastic. The bass has remained firmly in its case and cannot see myself going back. Have developed other interests, However for what ever reason I stiil have held on to my gear.

Nice sentiment. I guess what might have been referred to as 'Dad rock' is now 'Grandad rock.' Proof that rock n roll is there for anyone who wants it, regardless of age.

Agreed. Particularly when there is an establishment financially benefiting from my effort. I want my slice of the pie.

Totally agree. There is a very decent gigging scene around my neck of the woods, yet it is not unusual for landlords to cry poor mouth, even if there is a full house. I would never fall for that one, but there are plenty that do IME. There are bands playing venues for peanuts as a result, which makes things difficult for bands that want to get an honest nights pay for a decent performance.

This has been an interesting thread and has helped with nailing down my reasons to quit. I just was not 'feeling it' anymore and my playing suffered as a result. Being A sloppy ageing bass playing weekend warrior was the last thing I wanted after 40 years of gigging. I just lost all passion for giging I have not picked up a bass for over a year now and no regrets. I am investing my time in other things and reaping the reward from doing so. On the other hand, people have chimed in on this thread that they love the experience to the point of being prepared to gig for little monetary gain and I get that completely. However taking that position, can lead to a negative impact for bands on the pub/club scene. If pub owners have the opportunity to get a good band on the cheap they will no doubt jump at it. More established acts will be hit hard financially, as the wage will fall significantly. I have observed this scenario in my area. When I started playing many years ago on the pub/club citcuit, it wasn't uncommon to be offered 'drink money' for payment, but bands started to cop on,upped their game, and started to get paid for their services. IME things have taken a backward step and as I said in a previous post, I was making as much 25 years ago for a pub gig. Enthusiasm is fantastic, but when good bands are playing for next to nothing, it does not bode well for getting a decent payment for providing a good service, whilst the pub owners cream it.

Its a bit early in the day for this🤣🤣

The ocassional gig with however a big star is precarious for sure. But for as long as there are weddings, functions and a love for country music (as is the case on thiis side of the water), there will be bands to do the work. The latter offers a degree of consistency that the former does not. C'est la vie.