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Highly likely. Put some bigger casters on it and enjoy.

We just use a regular current account in the band’s name with two of us as signatories. Keeps things simple and makes tracking gig money and expenses way easier.

That's one of the weird things about the fretboard for me. If I'm doing something specific, like playing a bassline I've been playing for ages, you can ask me what notes I'm playing and I'll pull a face like a todder trying to do a poo. If I'm practising sight reading I know EXACTLY where I am, what key I'm in, what mode etc. When I'm writing a bassline I'll often be pulling "routines" from the old memory bank to try out and maybe slightly aware of the theory behind it but usually much more intuitive.

This cuts to the core of the issue. Do vintage basses (like classical instruments) get better with age, or is it just older people coveting and fetishising the prized possessions of their youth. Probably a little from column A and B. Collectors like Joe Bonamassa have a vested interest interest in all this. He’s part of the vintage machine and it suits him to see prices rise. For the rest of us, I’m not so sure…

Thank you. See you on Sunday

They are yours, I'll bring them along for you.

@ped these look amazing! Fender and Squier should take a page from your book for some future Paranormal Series Mustang models 🤘

I'll get there. The aim is to make a bass or guitar that looks and plays like a decent guitar. As you say, 3d printing is great for some things, it does allow designs like this, that you can't easily do with wood. They also sound pretty good. I'm sure a Fender aficionado would complain its not as good as their 62 or 72 or 82 Jazz but they have other advantages. left handed is easy, changes to accommodate different sizes is fairly easy. The metal work is not too bad now, it's about 90 mins depending on how much I have to cut through. The end build is strong, I was a little surprised that joining bits together works so well, so that's an issue resolved. The next one is the finish, and thats where its been a bit hard. Given some of the chemicals I've brought, I'm fully expecting a visit from the boys in blue asking whats going on I've yet to buy 2.5 tonnes of ammonium nitrate though so that might work in my favour. Thanks Rob

I owned a very interesting Dingwall AB1 six string for a brief period a few years ago. It went bye byes (as all my six strings sadly tend to do) but I did manage to demo it with a dirty B15 sound on a bass/vox-less Tom Sawyer OG backing track. With the news of Rush effectively touring their own tribute with Anika Nilles on drums, a decision I heartily approve of, I thought it would be fun to spin this up as a first review with the clip I recorded. I hope to see them for a third time on this tour if they make it over to the UK. Construction and ergonomics This was a beautifully built bass. Light at about 7lbs and well balanced, it's an extremely playable six string. Finish was perfect and everything worked beautifully. The multi-scale approach is, of course, a matter of taste and context, but it works very well in terms of playability. I'm not sure it's an overall 'improvement' on a standard fretboard as you win some and lose some; chording on a six string like this allows for shapes that you can't achieve on a standard scale, but you simply can't fret an equivalent number of chords. The playing angle for the wrist is a definite innovation, however. All in all, it was great to spend some time on one, but it certainly did not make me turn my back on standard neck construction. Sound I did a lot of A/B testing with my producer pal. The much vaunted 'piano-like' tones that people talk about on the lower strings were there in spades. Huge bottom end, huge sustain etc BUT (and it's a big but) we decided that there was a blandness on those low notes. It all sounded a bit characterless. My producer pal conjectured that the cleanliness of those low notes on the Dingwall was dues to less overtones and tended to disappear in the mix. He pored over the waveforms from the bass when it was DI'd and, lo and behold, it looked very 'clean' with little harmonic dips and bumps across the board. Anyway, we did some experimentation with pickup settings and drive and this thing really came alive, with the added colour of the drive helping the bass sit in the mix. Soooo, I put the thing through this UAD B15 emulator on a very hot setting and it worked really well...(vid/recording link below) Conclusion Very comfortable but also very marmite and with a tendency to tonal blandness, these things take effects very well. It's no coincidence that they find a home with progressive music that often involves a huge pile of processing. Not my thing really, but a well made instrument that def has a home in certain types of music. They also look a bit Lovecraftian with all those frets on the tip! Anyhow, here's the vid. Massive gronk on this one (not a canonical version!). I have been playing this bassline for a LOOOONNNG time. Looking forward to R50 gigs in the UK!

Thanks. The cab specs seem similar but now I know.

That diagram shows the 3015LF, not the 3015. The 3015 works best in 70 liters/2.5 cu ft (net) with 200 cm2 port area 35cm long for 45Hz tuning.

Geekery Corner - Spector European Edition With the new arrival yesterday (NBD thread to follow when the sun is out in the Shire) I had a penny-drop moment. Now, we’re all familiar with this lovely poster of the history of European-built Spectors and most of us know the differences off by heart but I spotted a significant [it is significant if you spend your time wondering about Spector minutiae 🤓] yesterday that I thought was worth noting because it affects what I call the “hanging geometry” of the instruments and although no one has officially confirmed it to my knowledge, I think I’ve deciphered what “LX” really stands for and it’s not “Luxe”, “Luxury” or anything like that. Get your latest prescription goggles on and have a look at this: The 2001-2003 Euro series has a longer neck! The bridge is further North (pickup terminology) on the NS-4CR. The nut is closer to the player on the earlier model. Then we move on to the Euro LX series and that bridge has migrated North again! Here’s some real world examples from the herd this morning... First up are two Euro 4 LX examples I reckon “LX” must be “Long X-tension”, “Long” or something like that. A Euro LX is not a step up in “luxury” compared to a Euro, it’s mostly different wing construction.

Fair point. I guess my opening attempt might be to define it as playing the instrument and learning/remembering songs only by listening rather than using visual cues, be that written notes/notation or watching hand positions/signals of other players etc. Though I do visualise my own fretboard and finger positions to some extent while playing, so I can’t say there’s no visual element to the processing; just not the input. I wouldn’t go much further than that, as I don’t think the term necessarily tells you anything about what you do with the musical information you just took onboard.. only how you consumed it. Personally, I learn songs monolithically end-to-end rather than in sequenced chunks, so it can take me a good few listens if it’s a long and complex tune. Learning the lyrics helps me to remember the song long-term. On topic, in the rehearsal room it does mean that my least favourite question is “what did/do you play for that bit?”, as I genuinely have no idea. Play your bit, I’ll join in, you can watch and tell me!

Yes please, I'm interested in them if they are still available.

If they make it to the UK, I'm there!

I wholeheartedly agree but I think it should be taken a step further, Alex and Geddy should be banned from playing any Rush songs on their instruments both publicly and in their own home. An Alexa device should be installed where ever they are, and if it detects a Rush 'lick' it should deliver an electric shock to Alex & Geddy simultaneously... that'll teach them for having fun.

Anika is an incredible and unique drummer, I'm looking forward to hearing what the collaboration produces. My only concern is that Geddy's voice was shot at R30, so maybe a new vocalist to complete a new line up.

I don't like late-era Rush with Neil Peart on drums. I wouldn't like that music with a new drummer, either. That's the point. I would say Grace Under Pressure was the last decent Rush album. After that they made albums with a few good tracks on, at best, then after Test For Echo they made albums with no good tracks on.

The Peart Era - everything from Fly By Night to Clockwork Angels? 😉

Thank you! I did not know such a thing existed, will check it out.

Later era?

The style of playing Anika has will bring something interesting to Rush. It'll be interesting to hear, especially if they intend to bring other musicians on stage to expand their sound. Now, given that Geddy's voice was shot by the time they did R30 two decades ago, all they need now is a new vocalist.