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That's what i thought also, when i had Paul made me a new body (2011) I wasn't able to make one myself, plus the fact that if Paul would build it it would be an all original Wal again. Ever since i started at a luthiers school in 2018 i had thoughts if i could restore this body, cause its a really nice piece of wood with a beautiful centre stripe, but there's to many wood missing on crucial places to make something nice of it again... It's a shame but now i'm glad i've got some cash for it so i can use it for the new build!

Been thinking about this again (another sleepness night). The die used in the machine to stamp this out can't have been broken otherwise more material, not less, would be left. If it was broken and then repaired (die heads aren't cheap to make so repairing it makes sense, toolmakers are skilled craftsmen) then there would be more material in the tuner head. I'm going with a different die was made and perhaps they were looking to align this with something else. I will now do my best not to think about this as I walk the dog. Rob

Lead-o Boz Scaggs

I Need a Collar - Aloe Blacc

“Get back on E,” in Jean Genie, the ‘butt’ piano chord and laugh at the beginning of Roxanne, the random opera singer, picked up on Does Everyone Stare. All mistakes/unintended moments, but kept in by a smart producer/s are now ingrained, integral parts of those songs.

Walk This Way - Aerosmith

If that was the case FOH and recording studios wouldn't have converted to digital many years ago.

Given the guy was a born distuptor I think he’d find the veneration of his 70 year old designs and manufacturing methods laughable. He’d also probably take offence at everyone saying he was a cheapskate.

I don't think Dan was talking about the relatively small differences in quoted power that you can get by using different criteria when measuring. For example you can inflate the power rating by measuring at 10% distortion rather than at 1% but it won't be hugely different. Wikipedia quotes a variation of 10-20% between power as measured to EIA and FTC standards. That's confusing for many consumers but not actually dishonest, especially if the measuremnt criteria are disclosed. I think Dan was simply warning the OP who is not a technical person that sometimes advertisers tell lies. A good example of that would be Bugera who rate their BV1001M at 2,000W when it actually measures in at just over 700W into 4ohms at the point it starts clipping.

They all look genuine to me and match perfectly, but the headstock might be a Rickenbacker re-mould of the Gibson copy of an original Guild, Gretsch rip-off? To be sure, I'd sell it, or swap for a microphone. 👍

This is what I love about BC. The commonalities. Pub/bar gigs are always hit or miss. In my neck of the woods mostly miss. We hadn't played a bar in years but we played one last Saturday night and it was disappointing for a myriad of reasons. I do contend that bands can and probably should out grow pubs and bars. I would call our bar gig last Saturday more of a " money grab" than a paid rehearsal. Or maybe a little of both. I'm better suited for upscale show case gigs. Lol Daryl

The problem I have with threaded inserts is that a double bass neck is two or perhaps three times the weight of an electric bass neck, and even with low tension strings the pull on that neck is prodigious. In order to get a full and stable fixing on the 30mm thick heel block you would need close to 30mm of threaded insert - and they ain't common - and when you do see them they are intended for furniture and relatively softwood. The heel block is hardwood and some of the long fasteners appear to be fairly dubious alloy. Most of the pro conversions I've seen done seem to use M8 - so that's why I intended to go that route. I've used threaded inserts on guitar and electric bass before ... but this is a magnitude bigger enginearing. I'm deffo open to looking mind. 🙂

With the bass the situation IMO is easier - we mostly have volume pot full open, we like compression most of the time. With the electric guitar I tend to use one channel and get clean - rhythm - and solo tones mostly by using volume controls (and rarely booster). I found it very hard to get achieve this kind of reactions on Cortex even with some quite pro third-party amp captures compared to the same real amps standing next to FRFR cab connected to Cortex. With Tonex (well maybe IK Multimedia, because I haven't used their hardware, only plugins): Amplitube 4 is plain terrible, Amplitude 5 is much better, but still for bass Ampegs and Fender TBP-1 (which I own in my rack) are just plain awful compared to real ones. For guitar - same as Cortex, but worse. Maybe my problem is that I tend to compare them in a very straightforward way: I know this amp "in real life" and I know how it would react, and when the digital version of the same amp doesn't do that - I get upset It's strictly for playing - I haven't compared recorded tracks yet. The digital technology came a very long way and is fantastic and very convenient. But still this convenience degrades sound quality.

Took me a little while to realise what this was about (it's early! 😆). Been and had a look at mine just now - looks like mine are all nibbled....