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I see that Bass Direct have currently got a full carbon fibre Klos uke bass for sale - that should take some serious stamping on! 😆😆 (I do play Uke basses by the way, and have had a couple from BD themselves - lovely chaps all) 😎🤘

Me too! There's lots of decent old joannas you can get for virtually nowt - old Challens go for pennies if you're lucky and are decent. I've just looked up our Pfeiffer, looks like they're selling ones similar for over E10000! https://www.pfeiffer-pianos.com/en/used/pianos

If you've got 91 slices either your pattern is too long or you haven't correctly identified all the relevant slice points and removed the "ghost" ones. You need to play with the sensitivity slider until it detects all the slice starts that you need and then delete the ones that aren't required. Unless it's very busy, a typical 2-bar pattern should have around 16-24 slices, and none should be shorter than 1/16 note The ascending pattern is created with the intention that you also save each slice as an audio file. You then load these into a sampler (real or plug-in) each one to a note. When it plays the MIDI file it will replay the pattern but now you can change the tempo without changing the pitch. However if that's all you want to do, it is simpler to save the REX file and if you have a Mac and are running Logic convert it into an Apple Loop which will do the same thing automatically. If you want to use your own drum samples you'll need to identify what each slice does (which is why it's important to remove the ones you don't want) and the edit the MIDI file in your DAW moving each note to the correct pitch for the relevant drum sound and duplicating those that correspond to multiple drums that occur on the same beat. Alternatively you can save the MIDI pattern as a quantise template and then program your own drums and use this template to replicate the feel of the original rhythm. HTH

Seems this is coming in at under £1000. At that price, could be a solid seller after all?

The Knight had been a school piano for many years. Sadly it was a long way past economical repair. I would much prefer a 1970s Knight in good condition to a new inexpensive upright.

Clearly the PCB need to he redesigned. I have not looked at the output of the PSUs on an oscilloscope but switching from battery power to the mains power supply, I could hear none.

I knew it wouldn’t take long for this suggestion!

Gruesome !

No, it’s not you. The quality of recent stuff is poor. Another one here who drills pilot holes and uses candle wax……….but I’ve still wrung a few over in my time. It goes without saying that not all Phillips-head or Posidrive screwdrivers will correctly fit every time, thus creating yet more chance to foul it up for you. If they snap midway it can be a pain to restore cleanly.

I have a few active basses. I prefer passive ones for various reasons, although active ones have their place.

I bought the original one yesterday. I decided the v2 wasn't worth the extra £100 for 80 more Watts. I definitely would have gone for this though had I waited a day!

Blimey Google Lens actually correctly identified my pic as from the early 80s.

Just wish I could remember what happened...

I guess you are the proud owner of a gold plated wheelbarrow with a square wheel...

Hi all I've always used roundwound strings and prefer them when they've lost some of their brightness, but not when they've really gone dead (they sound duller than flats then to me at that point). I should probably just bite the bullet and try a set, but wondered what opinions others have of EB Cobalts. And is there a big variation between Slinkys and Super Slinkys? Comments welcomed. Cheers

Rise ... if s/he still can with a triple hernia and some broken vertebrae... 🤔🤪😂

All of our gigs were in the Greenfields area apart from one which was on the main drag down to the West Holt stage I think. We played at 12pm, 2pm and 5pm and for all four gigs, we played to probably anything from 100 people to a couple of hundred people. Our guitarist quickly counted on one of our gigs and there were about 60 inside the tent and a further 100 sitting outside on the benches or the grass listening. I witnessed on most of the larger stages and tents, there was a very large crowd watching that could range from a a few thousand to 10's of thousands, depending on the artist and the time of day. For some artists, the crowds were so large, for example Kneecap and Tom Odell, they had to close access as there were simply too many people wanting to watch. Some of the smaller fringe tents did suffer from only a handful of people watching but this could depend on the time they were playing, the music they were playing, the quality of their playing and if anyone big was playing elsewhere. For example, one of stages we played at, we played at 12pm and had a couple of hundred watching, however, if we played at 5pm, it would of been anything like 500 plus.

I'll think you'll find that was the ShakeyCam 😁

That's actually a plus point for Fender.