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My bad, Bill. A thought occurs. Could @MostLow replace the baffle on one of his 4.7 cu. ft. cabs and add correctly sized port(s) and mount both drivers in it? I've done that before by cutting out the old baffle with a jigsaw, leaving and couple of inches of the edges of it in place to mount a new one onto. It would slightly increase the internal volume and get it closer to the ideal of 5 cu. ft. It assumes the cab is tall enough to accommodate two 15" drivers, rather than being deep, but with a small frontal area. Might that be relatively inexpensive and simple solution?

Just get a regular personal account in your name, get all the gig money put into it, then if you ever want to quit the band you can f off with all the cash!

Folks, I've just messaged Rich (@Rich), as he originally invited me back in July. Had a look in the diary and it looks like I can make this! Happy days! Would a chat/presentation/Q&A (in the loosest of terms!) still be of interest to you fine folks? If so, I'll stick it in the diary. Mike

This - but new music, in a studio, Not bloody Tom Sawyer & Spirit Of Radio for the 578478547854785784th time.

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.