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If that's the extent of your ambition, go for it.

Interesting to pick up on this. Our singer mentioned on Sat night she only used one ear piece and left the other one out "otherwise she felt disconnected from the band and audience" - which is a classic IEM conundrum. It doesn't affect me at all in the same way - I enjoy the clarity and comfort of having a tailored IEM mix and no one's complaining about missing out on the experience of a deafening guitar amp - ok maybe the occasional dep guitarist - now we're all going through FoH apart from the acoustic drums. I don't really fancy the additional set-up faff and need to worry about an additional source of feedback from an ambient / overhead mic, just for the sake of one band member, but was wondering if there's decent ambient IEMs on a par with the KZ ZARs we're using, that don't cost the earth, and she can treat herself to a pair?

Well, so that I don't fall foul of gear abstinence rules next year, I've ordered the on-off-on switch required to make it north (single)/series (both)/south (single), instead of north/parallel/south as it is wired stock. And in case you're wondering, this is what I'll be doing with it:

One more sleep - Leona Lewis

Perfect thanks!!!! Still a bit surprised that you cannot use the output/volume control from the TE1200 to set the onstage volume, as that is how I understood power amps work

There you go @bassbiscuits - Ned Stark of Winterfell has spoken

Ah - hanging is too good for them … but … you could disown them immediately before they learn too much and so cannot be persuaded back to The Light

Mind you, alternatives to a Prog Xmas are available:

Would anyone at the BBC go to the trouble of fitting a bridge pickup ? There's what appears to be a Telecaster guitar control plate alongside the standard 51 P-bass plate. Can't quite make out what pickup has been added but it does hint at Ric treble.

Our last one before Christmas was at The Jubilee Club in Ashton in Makerfield. A good friendly and appreciative crowd, lots of dancing, mainly in the second half. They filmed us and have put one song up...

I recently acquired a lovely Jazz (having sworn off them for a good few years) and I find myself facing the same first-world problem that I always have - quick changes to the sound. I know that many people swear by the Volume/Volume/Tone (VVT) setup, and like to juggle the volume controls for subtle changes. Frankly I find these too subtle to be worth bothering with, and I converted my last Jazz to Volume/3-way switch/Tone, a bit like a lot of the passive Yamaha BBs. My current Jazz is a stack-knob with the later variant control circuit (no mixing resistors) and I'm starting to think a little modding might be in order. The everything-on setting alone is worth the price of admission but I have the same issue as with the VVT in that there is only any tonal change over about 1/10 of a turn of either volume knob. It has 250k volume pots but 500k tone pots, so very little happens to the tone until the bottom quarter of the pot rotation. For now I have tacked a couple of 56nF resistors in parallel with the existing 50nF ones, which has improved things from my point of view. I'm currently considering getting a 3-knob control plate and setting it up in one of the following ways: Vol/3-way/Tone Vol/Blend/Tone as per the diagram below - I originally found it on Talkbass but then found that @TRBboy had posted this thread about it last year. I could easily try both and see which I liked best of course So - what passive blends have members had success (or not) with, and who gave up and either fitted a 3-way switch, or returned the bass to stock?

If you've adjusted the truss rod then that should be ok. I'd guess Jay means the standard .012” which is the fender standard: https://www.fender.com/articles/maintenance/how-to-measure-neck-relief-on-guitar-or-bass I'd take it to a pro personally. That is a beautiful bass!

"Get them telt !" As it is told here in the Northern Climes

17 years late, I stumbled on one of these on ebay, looked it up here to see if anyone has experiences with them, I can say I'm happy with mine. Sounds good enough all stock, the previous owner put dot fretboard markers on it but it's stock otherwise. The preamp is good enough and has a sire like lay out with volume and tone stack, blen, bass mids & treble, active/passive switch and a mute switch. I may swap it for an obp 3 though, maybe.

Depends on the LED board. There are both, CC and CV systems, there. Constant current is very common in luminaires, but especially stripes are using constant voltage drivers. It is very nice that there are lots of DALI drivers, but also Casambi (wireless) drivers have become widely available (Osram, Tridonic, TCI...).

A very knowledgeable and talented blues performer. His Blue Guitars compilation is well worth a listen. Does this now make Bob Mortimer the most famous Middlesbrough person alive?

You mean a g-word, or Gerald Veasley's Jabanez? https://www.ibanez.com/na/products/detail/gvb36_1p_04.html

The Night Before - The Beatles

Dear Tractor, you just don't understand the finesses of GyroDec. You need to listen to the sound it doesn't produce. A friend of mine changed his CD, because the mechanics made so much noise. I have an old Technics SL-1210 that I got for free, because it was filled with liquor, something that contains hell of a lot of sugar. I managed to clean the frames and to my surprise the electronics were intact. Had to buy a new cover and a platter cover and a cartridge that was NOS Shure V15 type III. It has been running for two decades with no issues so far.

Properly sad news. Saw him in concert numerous times and his slide guitar playing gave me goosebumps. The Road to Hell is the album/track that really made him famous but some of his earlier stuff is awesome. Wired to the moon and Shamrock Diaries are massively underrated albums IMHO. Not only a great player and a brilliant songwriter but a genuinely humble, honest guy. Gutted to hear this.