SimonK

I suppose the other way of looking at this question is how much you need to spend to get something that will do the job that you need it to, and then anything greater than this is expensive. So for me a MM Stingray ~£2 to £3k (half that if second hand) is the instrument I feel most comfortable playing, and hence anything more is "expensive" (as per my comment above). I will choose to ignore the fact that a £550 Mexican Fender Jazz into a £25 DI box would get me through most gigs!

I interpreted the question as what would be too expensive for me to buy. I think I would struggle to justify anything north of £3k because I would simply be too afraid to take it out of the house, and also the law of diminishing returns probably means paying large amounts for incremental differences once you get above this point.

She's Indian.

Talk about getting everywhere - this was from BBC sports personality of the year last night!

OP buys a bass, ..then one of these... ...sends the crap half back... Problem solved 🙂 !

Tuner (in bypass mode), Preamp and compressor always on (NB mute and a HPF on the preamp). Extra EQ pedal for fretless to give a mid boost if needed (but not always). Fuzz one out of every ten songs again if needed (not always). Chorus/Envelope Filter/Octave pedals go on my board every now and again but then come off after a few months of never getting used (this cycle has been going on for a few years as I keep aspiring to use them, but never do!). They sound great on their own but I don't think add anything in a band situation.

...I smell a book matching conspiracy - I wonder if he has a family member who works for Gibson?!

Oh yes - that's horrible - I've had a rant about this before as it's pretty much ruined my enjoyment of the PRS I saved for years to get!

Whenever anyone mentions organs I can't help but think about this album - both awful and wonderful at the same time:

She sounded great on the video and had chops that I couldn't possibly play, but, the thing that filled me with a bit of hope is that they were all very pentatonic within the 1/5/octave box (even the slapping), showing that if put under pressure even the great players resort to something that is a bit more recognisable. Staying on topic - Danny was on exactly the same show (link posted a few pages back) and did a pretty good job albeit on a far simpler track, which in my view had more of a groove, emphasising again that we have two people from very different spectrums of the bass community here - possibly as far apart as you can get - and maybe hence the entertaining clash.

As an antidote to the IEM thing, we turned the HPF on the subs from 60 down to 40 as wanted a rumbly pipe organ for Hark the Herald - however they forgot to turn it back up again and the bass sounded awesome, albeit I felt it far more than heard it - I dutilfuly turned my HPF off when I realised the potential!

Yes they both have very different styles - and you can see how they clash - here was Danny this weekend:

Just also discovered this (but searched to see if anyone had it on the forum!). The fight about using a pick, and comment about active vs passive pickups for losing a girlfriend sounds scarily familiar to this forum! ..."and we all need to remember why we got into the bass in the first place" - "because the band already had two guitarists... because four strings is easier?"

Carol service this evening where along with all the normal ones we did a cover of the below that went really well, helped by a very awesome singer, equally good violinist and our lead guitarist trying out a new Irish Mandola - they did make me play Cajon though!

What software did you use for that last one (Middle Child Millicent)? I'm happy with the learning curve but can't decide on the software to invest in!!