Muzz

The Bass Lounge in Worsley has a great range of very nice basses - check out the website, give Drew a ring. PMT in Salford has a lot of new stuff and plenty of amps. +1 for Promenade, too. Reidys in Blackburn is worth a call if you're in the area.

I like less notes sometimes...restraint is as valid a part of a skillset as any other. Cliff Williams is as 'good' as Jaco, Victor, Jonas, whoever, by the simple virtue of the fact that his playing enhances the music of the band he plays with.

Nope, I've tried to switch a couple of times now, not enjoyed it and it's not stuck. I like a slim neck (my Precisions all have Jazz necks, as does my Fenderbird) and 5s never have one of those (not even the SR505 I had, which was as close as I got) but I have a Hipshot Xtender on all my basses if I need a low D (low C on the Dingwall). Having said that, I have an 8 which is staying, but that's very much an occasional novelty bass. I guess if I ever wanted to go for a 5 again I'd get a Dingwall as they make so much sense as a 5, but it'd be a very expensive experiment...

I'm a fully addicted builder and tinkerer, and I've used Mighty Mite necks and Warmoth stuff. The Mighty Mite is really good for the price, but the Warmoth stuff is absolutely top notch - the neck joint on my Explorer (which is incidentally for sale on here, hem, hem ) stays put without the screws in - it's very tight indeed, and the flame maple and natural masked binding is a thing of beauty. I'm seriously pondering some more Warmoth stuff, as I'm going over to the States in a month or so and I can bring it back with me.

[quote name='EssentialTension' timestamp='1360697429' post='1974984'] Does he have a regional accent that meant the Yanks needed subtitles? [/quote] Nope, he was booked in by our receptionist (who speaks very well) over the phone to the States. He kept the booking slip to prove it had happened, because no-one would believe him. Took him fifteen minutes to convince the receptionist in the hotel that the booking was for him, because she wanted to wait for 'Mr Contninong'...

Slightly OT, but a guy I used to work with was once booked into a Hotel in the States in the name of Terver Contninong. His real name is Trevor Cunningham.

I use an even cheaper solution - a £14 Stagg amp stand: [url="http://www.staggmusic.com/en/product_detail/gas-3_2.html?backp=1."]http://www.staggmusi...2.html?backp=1.[/url] Tilts the cab back enough so that I can hear what I'm doing, also raises the cab a little from the floor. Folds flat, easy to move around. Sometimes I use a couple of pieces of foam instead of a Gramma - same thing, but £48 less. Lord, I'm a cheapskate...

I'm possibly not an artist, and I didn't even enjoy the Coltrane clip - imagine what a downer the thread is for me...

Sold a pair of pickups to Jas - perfect transaction, great comms, he's one of the good guys!

*coff*coff*myavatarpic*coff*....

Talentless? Back of the queue, chief - take a ticket and wait till your number's called...

I guess mine would be Lizzy's Live and Dangerous, and probably 2112. Blimey.

Oooo, me first! Bought a nice modded Jazz: perfect, painless transaction, great comms and well packed. Deal with confidence, he's one of the good guys!

SVT-CL and 8x10. Done.

In a kind of arse-clenching-at-the-time-but-hilarious-later way, some of the most fun I've had in bands has been auditioning singers. The Irish bloke who wanted to audition with 'Moikel Jackson's Triller' was a standout, and yes, it really was 'Triller!' the way he sang-wailed it. This was well before the X-Factor-type programmes, though, so I'd imagine the bar for self-delusion is set a lot lower these days, and the ratio of ambition to talent is a lot higher...

OK, I'll confess: money, weight, storage aside? I'd have my 810 fridge back. There, I said it. I feel better for that. Meanwhile, back in the real world, I've tried lots of other cabs over the last three years, GAS being what it is, but none of them (including a Super12T I borrowed, good as it is) have made me want to sell my Schroeder 1515L. A very particular, Marmite voicing which doesn't suit every amp or everybody, but I like it, especially with a LMIII and my Streamliner. I've bought and sold a dozen basses or more, and half a dozen amps in the time I've had it, but it's stayed.

Well, this one's been a work in progress (albeit one I've gigged quite a bit in the meantime) for a good while, it was only the flats I put on it recently motivated me to get the thing more or less finished. Black and maple sounds really nice (most of my other basses are this colour combo) - any pics?

[quote name='silddx' timestamp='1358876719' post='1946433'] May I suggest you try to enjoy the whole song and appreciate the part you play in it, rather than doing what too many people do and only focus on yourself? The clue is that you hadn't even realised how simple the bass line is, THAT my friend is REAL music. You've been tricked by movement and harmony. I very much doubt that you are playing the part well enough to get your mojo on, so concentrate on nuanced playing and how you fit in the song. Just because you don't have 16th note triplet arpeggios to play does not mean the bass line is simple or unmusical. So many of us are trying to learn stuff that means nothing on the bass unless it's in a virtuoso context. There is far too much emphasis on chops and f*** all on MUSIC. If you can truly learn to love simplicity, you will be a much better and more useful musician for it. [/quote] That, Nige, is the most sense I've read on here in some considerable time...I'm tempted to to nick it for my sig, but it's a bit big. Nail/head, all the same.