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That is a shot of the original thankfully - if they'd even cloned the designer's name on the PCB that would be mind boggling! Not that they're too far off that, if at all, already mind.

I have just sold Pete a bass; our second transaction, 12 years after the first! I have no hesitation in giving him 5 stars and hope our paths cross again.

What's that venue? It looks very familiar, I'm fairly sure I have played there. I recently bought a Behringer X32 Compact to use with my main band, as we manage our own sound quite often. We were using a small 12 channel analog mixer with a single monitor aux, so it was quite a change. Digital mixers take a bit longer to get to grips with, in particular setting up the routing to do exactly what you want it to do, but what a revelation they are. I was a bit wary at first, delaying using the X32 live until I felt confident enough... but there's so much they can do, I was getting a bit overwhelmed. So I went back to basics and just set it up to be able to use it just like our previous mixer, basic functions only. That was pretty easy. Then, for each gig, we'd work out something new, saving each gig 'scene' as we went along... and before you realise it just makes sense. I think that because they can do so much, it's easy to get lost a bit, a bit like when I get a multiFX: I may spend hours just experimenting with the different sounds but not doing anything 'productive' with them.

That "small tour" (with a session drummer) is currently standing at 56 dates and I'll be surprised if there aren't more. Given the short timescale from the initial announcement of 11 gigs, for an event of this scale all of those additional dates & venues must have at least been reserved in advance. So those 'unhappy' fans are clearly willing to bend over & accept the sphincter-ruining ticket prices, however much they may complain, and the band/management would have had a pretty shrewd idea that's exactly what would happen. I'd be very, very surprised if the band weren't well aware of, and getting a pre-agreed percentage of the outrageous prices - I don't think any of the tickets & packages are a consequence of dynamic pricing - that's just what they cost. I first saw Rush in 1981 and I'm quite saddened that even going back that far, I never saw them in a venue smaller than the colossal, soulless, acoustically disastrous sheds that 'big' artists tend to play. I detest these venues with a passion & at this point I don't think there's any band I'd be willing to pay 3 figures to 'see' (through some f*ckwit's phone screen waving in front of my face) in one. And that includes 2/3 of Rush!

We were scrappy but the punters were happy. two gigs in a few months with no rehearsals. A month before next gig so we're going to get some rehearsals in. We all made silly mistakes. I was way too loud playing Uprising through my Joyo XVI but it was fun 😈

Okey Dokey plane mode is now off , so I ve released the thread , dive in

RIP Anthony 😢

Apologies for the radio silence on this thread - short update is that after a lot of faffing about I have finally settled on the PJB BP800 head and couldn't be happier. Unlike my experiences with the PJB D400, GR One 350 and Eich T300 this amp is much quieter throughout - preamp, headphones, DI and poweramp all far less hissy and therefore works really well with the Monza. Here's a quick pick of the new setup that I'm really happy with: I'm happy to post more detailed experiences with any of the amps (and their suppliers and manufacturers!) I auditioned to get to this point, or PM me. Thanks to all for the input on this one!

Went through something similar a while ago. Had a very nice StingRay at the time, but just couldn't find a sound I liked from it, so sold it and bought an SB1000 that came up in the local music emporium (both it and the Ray had been "dream" basses since the 80's), fabulous bass to play, but again, just couldn't find "my" sound out of it no matter what I tried. Went back to said music emporium, and simply sat down and tried a load of basses (thankfully, the shop had an excellent selection of basses), in order to try and find one that not only felt and played well, but sounded great too. After a couple of hours of trying stuff, I walked out with a passive Mexican Jazz (which had US made pickups). It was just head and shoulders above anything else I tried. Only sold it to get my first 4003 (THE dream bass). The only active I've had since then was a G&L L2000 Tribute, again, looked and played great, but just couldn't get a sound I liked from it. Bizarrely, the only active bass that ever "hit the spot" sound wise was an old Thunder 1A. Though currently tempted by the Ibanez BTB that @fleabag has in the marketplace.

Hi all, I’m busy setting up a small workplace at home where I can build and restore guitars and basses. I just purchased a wood workbench and I’m looking for ideas to store my tools (most of them I have to buy yet) and parts. I would like to see your workspaces to give me ideas for mine! Cheers Ron

Damn, no SVT212 cabs!!

I was going to bring my '73 P bass, that I always post pictures of, because of it's really cool wear. Probably my '64 500/1 Hofner too (if it's ready, gone for neck reset) and my HW 4003 so people can see how good HW is But I'm coming to meet everyone anyway

Just had some work done on my 2001 Warwick Thumb BO by Jon Shuker. Neck reprofiled, frets levelled and dressed and a brass nut fitted. This man works wonders. If you need any work done on your bass I can highly recommend that you take it to him.