leftybassman392

A great band - my personal favourite... (an oldie but a goodie! ) Robben Ford's guitar seals the deal for me. [url="http://www.youtube.com/watch?v=1krbUsyirUM"]http://www.youtube.com/watch?v=1krbUsyirUM[/url]

That's a real shame, Nigel. A very nice band with a pretty distinctive sound in an era of soundalikes. Best of luck with your next project. Andy

King Billy is good. Malt Shovel and Foundry still doing bands? Used to be a great place along the Wellingborough Road called The Old House at Home but I'm not sure they do it any more....

[quote name='CamdenRob' timestamp='1394608960' post='2393172'] I see a lot of basses advertised with the RRP in the listing. This is all well and good but these basses are never sold at the RRP. If I see a bass up for £2200 and a quick google search reveals the same bass going new for £2500 Its not going to raise my interest. Anyone with Two and a half grand to be spending on a bass is just going to spend the extra £300 and get a new one. It's only when something gets down to a much lower percentage of the new price that it becomes attractive to buyers. [/quote] It's a very good point. People are sometimes a bit too precious about their pride and joy. You have to be realistic. Basses are, in this situation at least, much like cars. When you buy a new car, you will lose anything up to a third of it's value the moment you drive it off the forecourt - doesn't matter what it is. So it is with instruments. By the time you've owned and used it for a year or three it's sale value plummets. I'm not saying this because there's one that I'm after (quite the contrary as I've just done a very nice trade with another BC member), but asking 90% of it's retail value just ain't gonna do it I'm afraid - people are not stupid, especially when money's tight. Even on a spotless instrument I tend to think I'm doing really well if I can get back 60%. Each to their own, but if you're interested in actually selling it then you have to price it accordingly. (If you're doing it as an exercise in domestic politics then that's a different matter of course... )

Yep, been there, done that. Good fun (I've always liked twiddling knobs ). Downside is that it normally has to be a bit of S&F type of thing. In the function band we paid a monkey to do the twiddling.

One way of selling an expensive instrument is to give it to a shop to sell for you (commission sales). I did that with one of my Regenerates a couple of years ago. In this country they're as rare as hens' teeth - not to mention the added rarity factor of an upmarket Lefty instrument. It took a few months but eventually someone bought it and I got pretty much the price I would have accepted through haggling on BC. You also get the prestige of the shop name. Bass Gallery, Bass Direct and BassGear all do this. Yes you pay them a percentage (15% IIRC), but you get a sale without having to do any of the work and still get pretty close to what you'd be looking to sell it for anyway. Apologies to anyone who feels this is betraying the spirit of BC, but upmarket Lefties are [i][b]very [/b][/i]hard to sell here. Although I have no short term plans for it, my '84 Wal is going to be a b***h to sell when I do finally let it go. On BC It won't sell in a month of Sundays (no offence intended but it's the reality of it). If I give it to the Bass Gallery it would have their name behind it and a worldwide market to offer it to. No-brainer I'm afraid.

While we're talking about vintage Ricks, I have a question (which is probably unanswerable but I'm going to ask it anyway). Many years ago I had a '64 345 with an 'f' hole and a single-level scratchplate . At the time it was the best guitar I'd ever owned by a country mile. It cost me £95 back in the mid-70's (The owner wanted £100 but I beat him down ). In 1990 I took it to Musical Exchanges in Brum. They gave me a brand new lefty American Standard Strat, a nice pedal and around £150 in change (which would have made it an offer of around £900 - £950). I've never seen another one quite like it, and have often wondered what happened to it. Must be worth a bob by now I would think: similar instruments of a similar vintage seem to be trading around the $8,000 (£5,000) ballpark right now. It was a righthander, and the serial was DH161 (Aug '64). Anybody have a clue as to how I might trace it? Edit: I've done a bit more digging, and I'm pretty sure it's a 345s (which was an export model I believe). Very similar to one of Pete Townshend's guitars (except that it had an Accent tailpiece rather than the Gibson jobbie Townshend had on his).

Could you define 'slightly more advanced years' a bit more precisely please...? *fingers firmly crossed*

[quote name='Kiwi' timestamp='1394118862' post='2388134'] If I asked to see a womans rig, would I be risking a slap in the chops? [/quote] Perhaps you should ask Bluejay - I seem to remember her saying that hers is very compact though... I'm going to leave now before we all get into trouble.... Hi Scott! Bye Scott!

I've had two Fender combos over the years. The first was a reissue of the '63 Vibroverb Brownface, which I bought in the early '90's if memory serves - original circuit layout - Oxford speakers, the lot! It sounded fabulous and looked cooler than ice in a freezer. Unfortunately, with the '60's spec came '60's reliability. After it went through it's second power transformer in as many months I decided to unload it. However, while it was away being repaired for the first time the shop (Musical Exchanges - anybody remember them?) lent me an old Twin they had laying around - quite possibly the heaviest amp I've ever owned , but loud?... don't talk to me about loud! Unbelievable! It is still indelibly etched in my memory even after 20 years, and seems destined to remain so - until the Alzheimer's sets in of course.

[quote name='H_Bass' timestamp='1393868295' post='2385278'] My jazz guitar gets Thomastik Infeld flatwound 12s. [/quote] That's them!

Interested to see the Eggle posts - here's mine. Made April 1993 when the factory was still in Coventry. In those days you could still walk round the factory and choose your own bits of wood, as well as asking for specific little tweaks (the neck on mine was shaved a mm or so thinner than normal at my request). This is actually a Plus. Cost me £750 from what was then Musical Exchanges in Snow Hill. This was my main gigging guitar throughout the 90's (along with my trusty black Strat of course ). Always used to draw nice comments from fellow players who'd never seen one before. Anyway, here it is... [url="http://s1109.photobucket.com/user/muso392/media/DSCN0382_244.jpg.html"][/url] [url="http://s1109.photobucket.com/user/muso392/media/DSCN0381_243.jpg.html"][/url] [url="http://[URL=http://s1109.photobucket.com/user/muso392/media/DSCN0380_242.jpg.html][IMG]http://i1109.photobucket.com/albums/h440/muso392/DSCN0380_242.jpg[/IMG][/URL]"][URL=http://s1109.photobucket.com/user/muso392/media/DSCN0380_242.jpg.html][IMG]http://i1109.photobucket.com/albums/h440/muso392/DSCN0380_242.jpg[/IMG][/URL][/url] Apologies for the slightly iffy picture quality

9's for a Fender scale length; 10's for a Gibson scale length; 11's for Jazz (half-round IIRC for a slightly thicker tone). EB Slinky as appropriate. I have the feeling that I was latterly using Thomastics on the Jazz guitar but couldn't swear to it. In the days when I was a busy working guitarist I was changing the strings (and oiling/cleaning the fretboard) every 2-3 weeks. Not so much now.

I'm saddened to hear this. Probably the most gifted player of his generation.

[quote name='flyfisher' timestamp='1392768597' post='2372646'] I'd say cabling only becomes a problem if it isn't thought out and planned for beforehand. I don't mean before every gig, but planned as a stage area layout. yes, active cabs need mains power, so make up the appropriate cables. We buy or make up instruments leads, speaker leads, XLR leads so why not pay the same attention to mains leads? I like to have enough cables/adapters to bring all the power back to a single point behind the stage. We then only need one cable to a suitable mains socket, via an extension lead if necessary. Simple. If we're putting together a full-on set up with a remote desk then I use a 16/4 x 30m snake from behind the stage/band area to the desk. To save having mic, monitor and DI leads from the front of the stage/band area trailing across the stage I use an additional shorter 12/4 snake box at the front of the stage and around it to connect into the main snake box behind the stage. A single sheet of paper with a simple diagram of what goes to which channel makes it pretty quick and easy to set up. [/quote] How's the Mackie? Got to say I don't follow the argument about cabling as a reason for not using active. I never, ever had an issue with it.

[quote name='chriswareham' timestamp='1392678741' post='2371635'] Was there any inappropriate fingering going on? [/quote] Yet another thread hits the slalom slopes!

Had an active Mackie system for some years and would never use passive again. Had to sell it a few years ago after back problems basically finished my playing career, but would probably still have it today otherwise. Have to say I don't recognise the cabling issues some are talking about - mine was a doddle to set up, great sound and plenty of power. It went to a certain Mr. Flyfisher of this parish as I recall - how's it sounding these days mate?

[quote name='icastle' timestamp='1391634502' post='2359653'] This might help. Somewhere between stage left and left centre and downstage for me. [/quote] Hence the term 'upstage', as in 'to upstage somebody' (so that the person downstage has to turn their back on the audience to address you directly). Oh, and downstage right centre (ish) for me with guitar or bass, because I'm, um, Lefthanded.

With my old rocknroll fart's hat on I'd have to say it was a tad overdone for my personal taste (and it's not my favourite LZ song as it happens which doesn't help), but the girl can certainly sing and if anyone in the business deserves such an accolade then Led Zep most certainly do. Well worth the viewing overall though and thanks for posting.

[quote name='Mornats' timestamp='1391111919' post='2353494'] http://www.youtube.com/watch?v=IFx3WX4DES0 [/quote]

What it says on the tin. (Yes I know it's been done before, but this one is mine. ). You don't have to like either the song or the bass line. You just need to have had it stuck in your head at some point (preferably recently). Here's mine ATM: [url="http://www.youtube.com/watch?v=u5pqSEcTzyk"]http://www.youtube.com/watch?v=u5pqSEcTzyk[/url]

I have a nasty feeling that this thread could wind up deconstructing the entire English language. Well, not nasty exactly....