Mrbigstuff

Looks like sapphire blue. Here’s a similar coloured strat: https://richtonemusic.co.uk/fender-deluxe-stratocaster-sapphire-blue-transparent-gig-bag-2nd-hand/?srsltid=AfmBOopadm0ZgMUhhWEuNcJTEvWrMyg6RFSwCj3zR0p9bAEjjs2tALu5

That’s by far the darkest I’ve seen, and translucent too? Does the Fender paperwork confirm its LPB?

There’s many ways to enjoy music, and lots of music to enjoy.

Collectors like Geddy Lee I guess

Like learning any language it’s difficult and I’m lucky I was exposed to it as a child and have been reading on and off since. It’s just another tool. If someone brought sheet music to the jam night (rare but heard it can happen) it’d be easier to read it than learn by ear/ theory. I read tunes from songbooks and to transcribe songs I learn by ear because my memory is terrible.

Notation is merely a form of communication. Theory is a tool for composition. You can learn one without the other, but dependent on your end goal, it may be helpful to give both equal attention.

Playing devils advocate. A different feeling bass could be enough to throw your performance off. Mix that with the nerves of headlining and it might not play out as the dream scenario.

What on earth… how is your finger choice impacting your timing? Timing should be independent of technique. This is the problem with teachers, they can help or hinder dependent on their own ability to teach.

If I was to go for one it’d have to be a clean finish. The wear doesn’t look well done IMO. Quite a different bass but if I had that money for a Fender copy I’d be looking at Alleva coppolo despite the headstock haters.

Just don’t stop learning songs/ music that inspires you. Lots of styles and new techniques out there. Sounds like the next step is to learn to transcribe yourself.

I quit gigging but still found lots of enjoyment in learning music without any pressure. I still probably play bass 5-6 times a week!

I had an 80s Tokai jazz and I’ve never struggled with a bass so much live. No matter what I did I could not get it to cut through. A major disappointment because the neck was lovely.

Not all squiers are good - the VM I had little to gloat about and was heavier than my Sire 5 string. The Sire V5 is passive only.

That is a brilliant big band album. Without knowing who he was until I picked up off the wall, I had been listening to his compositions most of my life.

How about you buy a friend/wife/husband/partner some nice bass bits as a generous gift. If they don’t use them and you just happen to have a bass that could be improved by the unused parts, then you could borrow them without having to buy any additional parts. Not only would you still be in, but it prevents wastage and therefor global warming!

Sire V5. I have one, it’s awesome and would have saved me a lot of wasted money had it been around when I was a youngster! Only negative is weight, my mex P feels a lot lighter.

Unless someone has a s/h one for sale I don’t believe you can. I thought they were custom made and anyway?

Ditto. My Fender bass is perfect but it was a Ltd edition with Lindy Fralin replacement pups, so could be reproduced as a signature. If I was gigging on a world stage, this would be the bass!

Jazz typically teaches you more about harmony than other genres, because standards are typically repetitive in form but not in the notes that are played. To play jazz you need to fully understand the notes available, how they make up the chords, how you can manipulate the sound, and how you can solo through changes. This is not necessarily the case across all genres but learn these key fundamentals and you should be able to navigate a tune in any other genre.

I’ve had a number of very good teachers but Joe Hubbard pushed my playing along more than anyone else. I also got a lot from just watching Daf work his magic on the west end. Being up close in a pit for one of London’s biggest shows was an incredible experience, and I picked up different tips each time.