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Creep - The Pretenders

tapewound and flatwound are not the same as far as i know,,,

no wonder you get tired ,,,😁

Very nice, Linus The quality of instruments coming out of the Ensenada plant in Mexico has been consistently high for the last 3-4 years. Love the Forest Green, too!

I agree that these are all great opportunities and I have others to explore as well. Branding is also in the works but generating some traction though initial sales is perhaps the most important priority to demonstrate the products are trustworthy...and if there are issues, least learn how far off we are and make some adjustments before committing fully to launching 'a brand'. Normally big US companies like PRS would use their endorsers for feedback and product development because out there in the big wide internet land every concievable opinion is available on what works and sometimes these opinions are based as much on YT videos, speculation and echo chambers as much as real life touring experience. I don't have access to that level of support, however... 1) I can listen to opinions of regular folks on here who share my interest in graphite necks. In my experience, BCers seem more likely to be grounded than the interweb at large. 2) Folks on here are probably a little more representative of the people who might buy these necks too. 3) I'm very comfortable with a more consultative approach thanks to stints working in local govt (and, IIRC a consultative approach worked for Rob Chapman too so why not explore it as an approach.) 4) It's something I'm genuinely passionate about and interested in! A well made graphite neck (like the one in my Alembic) offers effortless playability, confidence and a sense of control over notes that I don't find on offer as much with wooden necks. But there are pitfalls to avoid too, as history shows us.

A few years back, I was very close to buying a graphite neck for one of my MM Bongos from Moses (complete with fibre-optic inlays), right before they made the decision to stop making graphite necks. Gutted I never followed through on that! So yeah, I voted MM necks, but *all* MM necks. Oh, and (this might sound a bit weird) Status necks, for those out there who have a wood-necked Status but who can no longer get a graphite upgrade directly from the source. Maybe it’s worth reaching out to some of our BC luthiers to see if they’d be interested in offering a graphite neck option for their instruments?

To this day many times when I think I've lost my signal I find out my tuner was engaged. Lol 120 is a good number. Daryl

Chased the power in for the rack and the desk, used some extra sticky gel tape to secure the annoying PSU's to the underside of the top shelf, very useful stuff that. Re-ran all the signal for the main interface and the summing mixer, then re-did the patch-bay. A slight redesign needed a new patch-bay template, came from Printographic who do custom labels for a range of patch-bays, a very good service. Checked the power for the desk and rack, all good. I'll put the desk back in position tomorrow and run the interconnects, the UAD comms cabling and all the USB stuff, then testing.

I'm hoping to be guided by what people want then offer that up. So the details will ideally be whatever people are used to in the standard instrument they are upgrading. BTW in the poll a completely custom option is also technically feasible but there are no scales of economy in the production process.

After a fallow couple of months for Dirty Roses, with just a few dep gigs for the Bonnevilles thrown in, we had gigs Friday and Saturday. Friday was in Polesworth, about five miles from my house - small pub, made a bit more crowded by the pool table pushed to one side. It was cool though, there are a load of 12" fans mounted to the walls. Mrs Zero decided she'd come out as well, just two weeks and a day after her hip replacement - recovery proceeding apace. Slightly rusty but no huge mistakes other than a totally false start to Paranoid, one of the songs that's been a permanent fixture in our set for ever. Oh, and someone accidentally pulled the mains lead out of the monitor on the guitarist's side at some point in the second set so he couldn't hear the vocals. And someone came up to me afterwards and said that my Sei was the most beautiful guitar he'd ever seen. Gear: Beautiful Sei Flamboyant 5 headless -> Lekato WS-90 -> Zoom MS-60B -> Tecamp Puma 900 -> GR Bass AT212. Footwear: Caravelle memory foam trainers. Second one was in Cheltenham, 70 miles away for me. Load in and out was from a car park right at the back of the long thin pub to the stage area right at the front, and as the singer was busy directing the guitarist and drummer (separately) to the hidden car park at the back of the pub, I had to unload all my gear (basses, rig, PA), which is probably a month's worth of cardio exercise for me. Large room, we were right by some opening French windows [1] although the downside to this was that there were a load of smokers outside. As I didn't know what the temperature was likely to be, I'd brought my massive fan, which proved a good idea. Initially it was a bit sparse attendance but a birthday party and a hen party showed up and the numbers swelled. There was one (relatively) young woman there who looked completely off her face (I had nearly two decades of marriage to an alcoholic so I know the look). She made rather close approaches to the guitarist and the singer (who both carefully avoided eye contact) and then when I decided to go walkabout a bit later on, she made a lunge for my bass, which I protected while beating a hasty repeat. At the end of the set, we did the standard pause while pretending we've finished and waiting for someone to say "more!". And, as always, some did. I noticed that one of them was the gaffer who was just outside the French widows, enthusiastically shouting "more, more!". Well, if the gaffer wants another song, we play another song. Of course, someone had accidentally pulled the mains lead out of the guitarist's monitor, but he coped. Had a moment of epicaricacy on the way home - driving along the 4 lane section of the M5 in lane 1, cruise control set to 70, and there was some dickhead bimbling along in lane 3 slower than me. So I stayed in lane 1 and went past him, and a short time later I saw in my mirrors two cars going past him, one either side, which then both went past me. Then the lane 3 hog suddenly came shooting past me just as we came up to a gantry showing 60 limit - I slowed, but lane 3 hog kept on at about 80 past the gantry and the HADECS cameras which flashed him. So he might not get done for lane hogging but he'll get a come-uppance of sorts. Gear: Sei Flamboyant 5 headless -> Lekato WS-90 -> Zoom MS-60B -> Tecamp Puma 900 -> GR Bass AT212. Footwear: still the faithful Caravelle memory foam trainers. [1] "French widows in every room!" - Gerard Hoffnung

Or a spare (I've been using it that way)

I don't know how to measure latency accurately yet, but it's the lowest latency wireless system I've experienced from all the low cost ones (including a mate's XVive U4) using my bass and paying careful attention to plucking. It seems instant, so I assume closer to 5ms than 10. Have just had an idea for a test rig: bass wired into my 4i4, record into Ardour and out to the WP-12, transmit to receiver, then out into my laptop and Ardour again and compare the waveworms. Somehow subtract the 4i4 and laptop latency. Sound ok as a plan?

Just be sure to report that on the "BC Cats" thread.

Oh no no no… bass first, of course!

OK, you've been offered 2 basses and you don't know which one to choose. Step one - play them both. Step two - decide which one feels, sounds and looks better than the other. Step three - if you can't make up your mind, don't buy either. You haven't found the right bass yet.

Yeah I suspect they extended the run and issued them to coincide with an anniversary - and added white as an option - I recall them placing ads in the bass magazines based around a large Union flag. @dub_junkie no doubt got his from the initial run - I also recall they advertised it as a real Stingray for less than £1000 (even though it was very marginally less)!! Marcus was playing his original modified Jazz bass, with Bryan Ferry - I remember at the time thinking how dreadful the bass sound was on that - it looked like he was struggling with the stage sound as well - we were all used to hearing Alan Spenner play a Wal on Roxymusic stuff. By contrast, Pino’s sound on the Paul Young set was astonishingly good!! But then it always seemed to be, in those far off days when guitarists didn’t have to be the loudest instrument!! Pino played through a Trace Elliot stack.

Not eBay, but a nice bargain for anyone up near York even if you might have to change a couple of pots.... https://www.gumtree.com/p/guitar-instrument/yamaha-bb424-bass-guitar/1500666173

Yes to all three questions Dave. Only compromise was I sacrificed the coil-split function. My tech guy phoned me to say that the Aguilar M pup wasn't wired for splitting. He said "I could modify it but that would probably invalidate your warranty." To be honest, it's not something I used much anyway so all it means is that the mini rocker switch doesn't do anything. Here's a link to one of last night's mobile phone videos to give you an idea of how it sounds. Aguilar AG 4M/J-HC upgrade

I have a Hybrid II Jazzmaster and it's the best quality Fender I've owned (2015 US, 1985 Japan and several Mexican). I wouldn't hesitate in looking at a Hybrid II bass if I was shopping for another Fender.