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Welcome to the forum @hedgepigbass 😊 Where in Somerset are you? There’s a few of us yokels on here!

That’s a good point My aim of using a pick was to sound fuller ( as achieved with fingers ) but with the variation in tone and dynamics that a pick can only give in my opinion. The finger played tone has a warmer fuller depth to the sound as example Living on a Prayer never sounded right played with a pick but more right with fingers but then other songs such as Don’t Believe a word, Basket Case / American Idiot sounded better with a pick To save changing methods during a gig ( also changing EQ, volume etc ) making one method suitable for all is tough. I found I could do every song with fingers and some sounded wrong and when I played all songs with a pick the tone was on some songs lacking in fullness

Still Crazy After All These Years - Paul Simon

genuine question ( from someone relatively new to amps cabs etc ) why do the last three amps mentioned " need " 2/4 ohms ? that aside,,what is the impedence of the speakers in the cab ? if they're 4ohms why not just rewire them in parallel ?

Yesterday, When I Was Mad - Pet Shop Boys

With regard to modeling software it only predicts response within the region of pure pistonic response, which is roughly to two octaves above the driver Fs. To see what happens above that use the SPL chart on the driver data sheet, which is not influenced by the cabinet. I can't comment on the Eminence software, as I've never used it. For direct radiating speakers I use WinISD 0.7.

Tomorrow Never Knows - Beatles

Ready to receive... Went with gloss black, Rust-Oleum clear lacquer and #0000 step wool.

Now, it's this. Some might not consider it much of a change, but believe me, it's a considerable one.

Once, this one used to be my favorite bass.

For me, Thin Lizzy were one of the best bands of all-time. Phil Lynott was an extroadinary talent; singer, songwriter,frontman and teriffic bass player. The complete package.

That'll Be The Day - Buddy Holly

This is a piano piece that my wife improvised one evening. It formed a great basis for me to practice with Spitfire Audio’s BBC SO package so here’s my first attempt at arranging for strings.

My brother used to work in Whitchurch, round the corner from that restaurant. Apparently it's got a really excellent reputation in Cardiff.

We all do. The difference is, people either walk out or clap. I'm guessing the Edinburgh Fringe is kind of like a real life TicTok where you actually see the faces of the people scrolling past. Maybe there will be a point at which someone will put a vertical window in front of themselves so the passing people actually have to stop for a few seconds to look in before passing on to the next performer.

Im really satisfied with my fret jobs now but there was quite a bit of trial and error to get to that point. Particularly in levelling. I try to ensure the frets are levelled evenly avross their entire width as sometimes the edges got missed. I also now use a glass block to help achieve more precise tolerances. Depending on how that goes I will sometimes follow up with a fret rocker and fret file to catch missed spots but this level of neticulousness comes with a time cost. So much of a high quality outcome depends on how well the frets are seated in the first place and Ive encountered some surprisingly shoddy fret installations from nanufacturers who have really no excuse, considering their price points. Big shout out for Fender MiM and Epi necks btw, getting great action has been very easy.

Zero F's, but many replies. 😂 Mark

I used to be a one strap kind of guy. The temperature was a comfortable 24 degrees, very slight breeze. I had more hair on my head than the rest of my body combined. Life was sweet. Then a strap broke about a third into a gig, and no replacement on sight. I ended up playing sitting on a stool And the very next day I made sure I always had an extra strap in every gigbag and every tools case I'm likely to bring to any gig. But maybe it's just me... I just realised I do the same with extra batteries, strings, cables. When any hardware/cabling needs something, I'm the first one they ask, as I often have something useful in my magic box

Im not an expert on Vigier by any means but their all graphite necks were excellent. The 90/10 ne ks have a curve carved into the fingerboard which changes according to string tension. Its less than ideal and may actually be an example of over design. But the bass does sound good. Late night discussions last night sugfested that PEEK wont be rigid enough for a Vigier neck. Not a stupid question at all! Yes, the graphite composite neck should be stiff enough to resist string tension on its own which means the fingerboard material can be selected for tone shaping potential. The early Alembic necks by Modulus, Vigier necks and Status necks were really well made, stiff, flat and very low action was achievable. Later necks, by multiple manufacturers in the nineties, tended to rely more heavily on a phenolic fingerboard for strength and if the recipe for the resin wasnt mixed precisely, the necks bowed under string tension. Conversely if the resin was too stiff, the bass would sound brittle and glassy. My Alembic has an ebony fingerboard, I've tended to prefer wooden fimgerboards for this reason. It removes one variable.

Mark

On Any Other Day - The Police

Or Sgt. Rock?

Welcome HPB.