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I'd like to try it as such too. However, the neck of my fretted Elwood L (a JJ type) has a slightly different hole alignment on the neck. At least that shows that neck and body weren't 'cookie cutter' creations.

If Mozart was still alive he would agree, and it's been the same for almost any classical musician considered now geniuses, but not back then as most of them were always short on money, except a very few, like Rossini. So every penny generated by some kind of recognition is more than welcome for an artist ... when he's alive. For the record Vincent van Gogh officially only sold one painting (La Vigne Rouge) while alive...

Thanks for everyone’s suggestions and advice. I’ll take a look over the weekend. @Chienmortbb I’ll drop you a DM now. Very good point from everyone regarding storage. Up until a couple of months ago. All cables were stored (squashed) into our Stanley lead (tool) box. I’ve now made a point of splitting out our vocal XLR’s in a hard case with the vocal pedals. And guitar leads are now stored in guitar gig bags. Mine are stored in my box with my B6. The newer XLR cables with vocals are coiled in a circle and Velcro wrapped, as our my bass leads. But, the other (and all up until recently) are figure of 8 and wrapped around themselves. I was taught this was the correct way of doing it when i was younger. But, recently, working with some Stage management companies, they all seemed to circlular coil theres. Thanks all. Alex

There's a socket tester in that link for £5.00. Is that the kind of thing you mean, if so, I'll get one?

Mindquake- Kraan

Yes, I took the plunge and bought it. I tend to have a rotation on my basses as I like buying, trying and then after a while moving them on for the next flavour. Sometimes I'm impressed and keep them for longer (current longest one I have is 12 years) and sometimes it just doesnt gel for whatever reason. I'm not often badly dissapointed and its a fun learning curve. The lightweight isnt a problem and it balances well on a strap. 👍 Yeah I have noticed its still for sale. 🤷‍♂️ The Gallery tend not to update their webpages as often as they should, either for sold instruments (mainly) or new ones they have in for sale.

I'm surprised and disappointed that a musician should think that way. If people are using your music, even 50 years later, to sell their products then the music should also be earning for the creators. If a scientist discovers something and patents the idea he earns from that. Music is no different.

We always take plug testers to gigs after a dodgy connection. Cost £15 or so and easy to stick in the gig box. https://www.screwfix.com/c/tools/socket-testers/cat7910008

trip at the brain - Suicidal tendencies

Having done dome rapid research, f-holes work better than round holes az the airflow is (non-intuitively) proportional to the perimeter, not the area (because air velocity is higher the narrower the hole).

Part of the reason why I'm totally wireless. I've played enough venues with dodgy electrics to protect myself. These days - fortunately - there seem to be less iffy venues (at least around the south east) But I always carry an RCD as well JIC

Many people cannot say it properly.

If it is copyrighted, they do. You can bet that pharmaceutical companies don't say "no worries everyone, crack on using our stuff, it is a gift because that is who we are" Choose any large industry you want and insert it in to that sentence. Yes, writing a song which is a hit might only take 30 minutes. But the work to get to that point is not trivial.

Most musicians don’t get a significant chunk of cash every time they create new music.

I do not like to see f-holes. They just bug me. They are just about acceptable in their original context: violin, viola, cello and double bass - though I don’t think they look right on the double bass. Put them on any other instrument and I am out. Yes, I’m looking at you, Ampeg and Paul Gilbert.

If I don't know the venue, if I'm playing outside or if anything looks dodgy I use an RCD circuit breaker on my main power block. I went wireless years ago to give me some isolation from my backline. In my current band we have two working electricians, so they are always on the case regarding venue electrics.

I've never really understood why anyone should get paid for stuff they did years ago, and has already earned from concerts and disks sold, just because it has become popular or useful for somebody else. Not a popular view amongst musicians, I'll admit, but I can't somehow see its justification. Other people invent or create many things during their lifetime, but don't get a regular income from it. It's an odd system, to me.

That's lovely! The website people need flogging though. Can't spell "D'addario" properly. No nut width or bridge spacing information either.

Not quite seeing it - if you want a multi effect there are plenty that size, or if you want an optional single effect that you can pick from a large amount, there are plenty of options for that, that isn't this, don't want too many options, there are a lot of far cheaper ones that don't need a phone to set up. And almost all cheaper and not needing to buy the 17th onward effect. Their selling point here is 'We know everyone else has already done it, but we are boss'.