you’d be surprised how much counterfeit comes in through the CAN/US border…I wouldn’t say cheaper there. But higher risk of fakes, unsurprisingly.
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you’d be surprised how much counterfeit comes in through the CAN/US border…I wouldn’t say cheaper there. But higher risk of fakes, unsurprisingly.
You are so right. I bet there is far less variation in tone in basses made today. Yet even to my ear, recored reviews no matter how well done, tend to sound like mine at home (thinner than live), but nothing like it or the old Epi live. Of course recordings are even less an accurate reflection of what a bass will sound like live than being in a house. Much of this obviously depends on what a person wants or seeks to hear in the first place. I like the a massive, thick sounding bass that seems to my poor ear can only happen in a big room. Someone smart can likely explain what going on, but to me the lows have room to spread out and enlarge.I found Veronica's '64 to sound fantastic at reasonable at home levels. It may just be that specific bass with the pickup it has in it. The one thing about a VP is that it's going to be fairly consistent with other VPs. A '64 may not be all that similar to other '64s. Manufacturing tolerances are a whole lot tighter now.
As poorly mentioned above, I think there's something to the size of the room as well. At church I don't play very loud and the sound there is massive. Of course driving those power tubes would be even better.A lot (most?) of basses open up when loud.

You're lucky, I haven't played in a real original band for probably twenty years, I miss it though, I've had some opportunities late;y but they're all back in the States. I've always had good ears too and can play on the fly, that's why I like jams.
Here's a (dark) blues jam from probably 5 or 6 years ago with a TF fretless and SVT. Can't be very adventurous with this stuff.Drummer was all over the place for some reason and he's usually really good.
Well, it's "Room With a View" Rudy Lauckner
it plays for me on YouTube
Oh well, no idea why it did that.
Here's a demo I did during the early 80's I believe, I had already left by the time it was finished though so I'm not in any of the pictures. Very commercial sound, I was not crazy about it. The name was Cheese
The one that got the money maybe?One of you seems a little happier than the other...
JK - looks like someone doesn't like posed pictures.
I don't want to play that one. I want own it!
Then it would sound really good.I say this cause the neck pick up spacing is like the original Gibson spacing.
Only year the CP’s had that if I’m not mistaken.
I would love to see that in gold hardware...
I don't want to play that one. I want own it!
Oh I have a very good idea of the amount of counterfeit Cubans are out there… it’s saddening, and disgusting knowing what’s actually in some of themyou’d be surprised how much counterfeit comes in through the CAN/US border…

Gold how many carats?
What kind of nonsense advice is this? Surely you can trust someone who stands to profit from your transaction... Don't we always take the seller (or the agent) at their word??
Forgot all about White Bird Wednesday, here’s the 1990 Greco…And it's white. So, I could join the White Bird Wednesday crowd.![]()
I don't knock bands doing all originals. In fact a friend from TB plays in a group that does no covers. But in this area there's not much of a market for it. They mostly play for free. At our group's age(s), if we're gonna schlep our [stuff] (which includes PA and all our own gear), we're gonna get paid. And the people who book our band wanna hear "memories".I was fortunate that the band I played with the longest in the 80s was interested in doing as much original music as possible. We covered a lot, but played what we wrote as well. I loved it when we played our music and people got into it as much as a cover. I miss not coming up with new material and would hope to be able to do that again.
Ya mean like Neil Young?you’d be surprised how much counterfeit comes in through the CAN/US border…