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Could you instead look at older machines, built when cassettes were a viable option for music? I have an excellent Yamaha KX580, which are still available on eBay etc. Dolby B C and S, plus MPX.

I was wondering what to do with this 5 metre long Midi cable, used to join a midi footswitch to an effects unit. Mrs Dinger suggested that I should offer on basschat, for free. So, I have!

True.

That's exactly what I am doing. I'm working 2-3cm from outside edge, carefully going round, trying to keep the rubber mallet full face onto the metal. Every so often, I turn the grille over so it's being bashed from both sides. I've done over an hour on it and it is slightly better, but if I look at it edge on, I can see where the bends were put in 2-3cm from the edge, its not as bad as it started with. I'm bashing against softwood and I wonder if that's the problem. I'm going to try and find something different to hit against, possible a paving slab or something, cover the slab with material. I can't use plywood and drive the car over it, as I've cut it up for speakers Rob

It's a tricky one to quantify. I spent most of the 80s playing synths and my cheapest setup would have had a replacement value of at least £1k which is about £3.5k in today's money, and that has most definitely influenced what I consider expensive now. Also this was in the days when I had almost no disposable income so finding the money the replace my setup at any point in the 80s would have been a lot harder than finding the equivalent adjusted for inflation etc. today. All my musical equipment has been bought to be played and gigged. If I wasn't going to use it there wouldn't be any point in having it. In my last band I took both my 5-string Gus basses to all the gigs - one to play and one as a, never needed, back up. That's about £12k replacement value (I didn't pay anything like that when I bought them) and an 18 month wait with the current production times. Also the only thing I've lost/had stolen at a gig in the last 25 years has been the jacket which I up until recently I was wearing on stage with my current band and, as it was a one-off bought in a stock sale from the designer, has turned out to be both difficult and costly to replace.

No, I have a harem to manage. Strict rotation is the only way to do this. I accelerate the rotation by playing two different basses at the (two set) gigs. The only sentimentality I have is that Mrs. Neepheid bought me my Reverend Triad, so it would be last to go in a fire sale type situation.

Or buy a pack of these and see if they help: https://www.ebay.co.uk/itm/292979806418?var=0&shprz=EBAY_GB_619&_ul=GB&mkevt=1&mkcid=1&toolid=20006&mkrid=710-53481-19255-0&campid=5338986375&loc_interest_ms=&loc_physical_ms=9046416&adtype=pla&customid=Cj0KCQiA0p7KBhCkARIsAE6XlalW5IfZcd_Uf--FTf6ENEaToqvPpylhUhmEwS2j7VKA9ACQm9NAxNkaApXuEALw_wcB|null|null&gad_source=1&gad_campaignid=20398737499&gclid=Cj0KCQiA0p7KBhCkARIsAE6XlalW5IfZcd_Uf--FTf6ENEaToqvPpylhUhmEwS2j7VKA9ACQm9NAxNkaApXuEALw_wcB

I'm sure I remember seeing specific cautions about running dissimilar speakers in series. I don't recall what the precise issue was, but it would seem to be a quite complex situation with the impedance curves of the different speakers interacting and likely quite hard to anticipate how it will behave.

Bootsy's Rubber Hand

The cartoon says it all. Logically, the genuine road wear ( the scratch) should add more value than the fake ( Sandberg applied ) wear. Meanwhile on Wal and Warwick forums the question is "if I get my bass refinished to look like new, will it be more valuable" to which the answer is generally yes. Equally dumb as it's the sound that counts.

This has become relevant again as I've finally got my old Awai cassette deck out of storage and it no longer works. It makes a horrible grinding noise when powered up and although fast forward and reverse work, it won't play. The solenoids for the heads and pinch wheel seem to engage and then immediately disengage again. Therefore I've been looking at what is available and it's a load of over-priced crap. The two Teac decks in the above link don't even have proper Dolby NR. One has something that simulates Dolby B, but no Dolby C or S. Support for Metal tapes is limited. I suspect that the transport will be flimsy plastic rather than a decent machined metal shell. All in all they appear to be little more than the most basic of mechanisms in a "HiFi" separates case. At the moment I'm looking for someone who can repair my Awai, but it not looking good. It is possible to replicate Dolby B and C NR encoding and decoding in software, so instead I'm thinking of buying something that will simply play back the audio into my computer where I can apply these treatments to it. I've got over 100 local band demo cassettes from the 80s and 90s that I'd like to preserve.

Bit late to this, sorry. What is the actual difference in scale length between the two basses? A friend of mine tours internationally and when she can't take her instrument she has to make do with whatever the venue or promoter has managed to hire for her gigs. This means she adjusts to different string lengths and D/ Eb necks with very little time to practice with an instrument. She has a little leather patch with double sided tape that she sticks on the neck at the D position as physical marker for her thumb on Eb necks. Works brilliantly. As you own both these basses you could make a wooden block to a similar shape curve to D neck and hide glue it on to the Eb neck. Easily removed if you wanted to sell the bass. That's what I'd be inclined to do. Carving the new nut is definitely the only way to make them have the same scale length without commiting to a neck graft. As itgers have said, please Don't shift the bridge. It shouldn't be expensive and if you are handy is not an especially difficult DIY project, certainly to test the waters at least. You don't need to use ebony. As others have said the aesthetics may put you off, but I was close to buying a bass with an extended nut which had a C extension so it all ended up looking pretty good indeed! Let us know what you decided to do. Good luck

We Are Family - Sister Sledge

My Father Loves Nikita Khrushchev - The Clancy Brothers

Loving the colourway!

Yeah, I got my Dingwall Combustion as an engagement present from my wife when she got her ring. Huuuuuuuge sentimental value. Then after a difficult few years mental health wise after our daughter was born, we thought we'd get eternity presents now we're all doing better. She got a ring, I got my Spector Icon 😅 It does feel a bit like cheating on my Combustion. And then that feels a bit like cheating on my Mustang which I'm now even considering selling...

I Lost My Heart to a Starship Trooper - Sarah Brightman

and they made it left handed for him, which was unusual. He also started playing bass in Germany I think, when Stuart left

I've seen her using a Status and a JayDee in the past

Over Double the weight. But the pulse XL has a Xmax of 8mm Better? https://celestion.com/product/pulse-xl-10-20/

So perhaps 2 ports? The 100w limit at 70hz I guess will make a quiet spot in the range of the cab? Not the worst then. Ill see if I can find some different drivers with a better vmax Thank you

Using a series&parallel setup I can get 8 ohm overall. So the two cabs will br wired differently with a cable which makes this happen between them. This head has only 1 output. I'll need to rewire if I go to the bigger head later.

As a life long John Taylor fan I simply had to get myself one of these Dingwalls. I don't really do more than one pickup and volume, tone knob. This was b stock from Thomann. It had been used in their photos and has a slight ding on the back An amazing set up, action as low as Ive ever played and the pre-amp is amazing too. If only I had some gigs booked that weren't tribute gigs. Fanned frets. My word, just don't look at them. It does sound quite P bass like on the neck pickup I'll bring the Ampeg into my music room over the christmas break and see how it really sounds