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I'm receiving adverts from them since a few days and the Dutch branch seems to be back on tracks now as you can order what they have in stock.

I’ve used J-Tones (Reds and Big Twin) and found them to be excellent pickups providing you spend time to get the fit in the bridge wing ‘just right’. I’ve recently moved to a David Gage copperhead, which is a huge improvement over the J-Tones but I guess you’d expect that given the respective price points. So far I’ve had no feedback issues with the copperhead, but I’m playing a gig in a couple of weeks with a notoriously resonant stage so that will be the acid test. Do you used F hole blockers on louder stages?

It's as much to do with international economics as anything deliberate by Pirastro I'd guess? Since Brexity/Trumpin, it's simply crazy

WTAF is going on with Prastro Olivs? I had an idle look on Bass Bags, who are usually pretty reasonable value for strings, I've always found. A full set of Olivs are now £900!! I mean, are they made of unicorn gut or something? It does make you wonder who exactly they are marketed at, who is their target player? If you compare that with say Evah Slaps which are still less than £250 for a set on the G4M site. Olivs are maybe a bit nicer under the fingers. sound richer (to me, based on only having an Oliv A string!) and take a bow much better, but are completely not worth nearly 4 times the price. I have a friend who is a pro orchestral player as is his wife, and I know for a fact that neither of them will be paying the equivalent of a mortgage payment for any strings at any point ever. So I wonder who Pirastro are expecting will buy a set at that price?

Yes but the blisters pulling it off 😅 I've got dual lock ready to go on to it, but this board has had 27 configurations this week alone and I’m still not convinced by the Capo and Deco.

She stole my band name for a uni grunge project. I was going to call my next punk band Crooked Snout after our slightly wonky lurcher.

If it's standard pub songs you would probably know 20 of them already. And I suppose the potential for further gigs with the same band comes into play as well - if it's likely a one off you would be less inclined to put too much effort in. We had 2 dep guitarists and a singer that we used regularly (they probably did about 8 gigs a year each with us) and over a few years they gradually picked up the whole set. They really became valued extended members of the band, never needed to buy a drink and came out for a free curry at Christmas. We also learned a few songs off their wish list.

Same Old Song And Dance - Aerosmith

Heard It All Before - Mudvayne

Talk To Ya Later - The Tubes

Yakety Yak - The Coasters

I guess there's a worry about crossover distortion. We treat crossovers as neutral things that just cut off the lows from one speaker and cut the highs from the other. In practice the cut off isn't instant and there are a range of frequencies when both speakers are operating. At the crossover point the theory is that both speakers are designed to be 3db down halving the power to each and tow halves make a whole. That's the theory in practice it's really hard to get the exact match and on a frequency plot even with the best hi fi speakers you can always see the crossover frequency as either a little dip or a little peak. In most speakers you can hear it too. This is compounded by phase changes, slight delays between the sound coming at you from one speaker and the other. This makes the sound cancel at some frequencies. There's a slight delay in the speakers moving with the big ones taking longer to get going, the crossover components cause their own phase changes and to add to that the speakers would need to have their centre's equal distances from your ears. Crossover design is really complex and even the best computer aided design only gets you so close. Sombody really needs to sit down and spend the hours/days remeasuring and tweaking to get it right. Digital active crossovers make it easier and we benfit from the move to active PA cabs. Various trade names like 'Firphase' indicate where the manufacturer has tried to tame all the phase related crossover distortion and used a bit of delay to time align the drivers. However I don't think this is so much of an issue in using subs. Our hearing is just so much less sensitive down there and although theoretically a bass singer could get down that far he would have so little fundamental content that I reqally don't think it would be noticed. Maybe a trained sound tech in ideal studio listening conditions would be able to hear something in the kick drum sound but not in the wilds of PA. A lot of the new stick PA systems crossover in the 300-1,000Hz range and do so quite successfully and have the advantage over the 2-3,000 Hz crossovers of conventional PA in that part of what they do. The OP doesn't need to worry he only has 100 or 120Hz to choose from.

Most of my gigs are deps these days. I wouldn't learn 30 tunes for 80 quid!