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Welcome Dan, If you like shorties, you could do a LOT worse than check fellow member @Jabba_the_gut's Build Diaries. Here's one he did earlier - He has made a few very interesting instruments if you browse through the Diaries' sub-forum.

Before realising this was an E.J. Tribb (17.5) masterpiece I thought it was a long lost verse of What a Waste. P.s. how do I get a 1/2 on my phone keypad? 😟

Second hand prices do seem very low , that ACG on here seems crazy cheap to me but I guess they've never held their value like fenders etc Why do you think they're dead OP , I'd actually say people are a bit more open minded about them now than 20 years ago when they seemed particularly out of fashion

Lovely bass tone, there. Fab stuff

there's only 4 songs on that list that I haven't played but whether I could get away with them now............... The Wham! song has a great bassline but I've only ever sung it, so have no idea how to play it

Boutique basses…..? Eights and aces…..? Losing money at the races…..? Big suitcases…..? Long shoelaces…..? Presidents with orange faces…..? E.J. Thribb (17½)

Harsh, but very fair 😊

History Never Repeats - Split Enz

I've just had a reply to my email to Thomann, they are sending me the missing item so it is getting sorted. I wonder whether their picking system is at fault somehow resulting in small items going into the wrong box? A few orders ago I found a pack of six harley benton pleckies I hadn't ordered with my stuff — presumably someone else was missing these.

Not any more sadly. Don’t dabble with this wood. Cheap for a reason

As I seem to be the only one who is willing to do anything I end up having a major say in most things.

I would suggest they are 99% production line basses, as are all other non-boutique basses.

If we play in any band we have to do better than "surviving the night". The "practice till you can't get it wrong" approach has to come into play for every gig we do. We are only playing songs with repeated sections joined together by bridges. It's all about patterns, and rhythms. For bad memories or not being given enough notice, chart everything. I don't know about 50% of @kiat 's set list, but it's not rocket science. I've taken a copy and my challenge to myself is to play every song on that list by the end of the month.

Yes, I have been reading her book, which is scientifically researched and all makes very good sense. She is even generous enough to provide a free PDF with all of her advice from the chapters.

I think the same can be said of every courier service in the UK. What's the viable alternative?

I'm going to start gigging this one soon. I haven't done yet, even though it's been around for a while, and there have been a few reasons for that, not least having a hernia! But I got that sorted in July and I feel sufficiently recovered to start carrying this around. I spent a few hours yesterday trying different pre-amp valves in it. Martin Garton had put a Mullard ECC81 in the V1 position when he built it, he said he did this to keep it clean. However, having spent some time swapping things around, I've settled on an RCA 7025 in V1 now, and the amp is much more immediate and responsive, as well as being louder. It hasn't really affected how soon it breaks up either. I also worked my way through the rest of the pre-amp, and I think I've settled on the best set of valves which are all good vintage RCA, Amperex, Mullard and Philips. The other key element I have added is an HPF. The one I'm using is a Rafferty clone of the Fdeck HPF. I'm rolling off everything below about 60hz I think (there are no markings on the knob!), which really tightens the whole thing up. Without it, the amp tends to be over bassy and flubby, and lacks the punch I would like. The HPF totally transforms the amp in a very good way. I now just have to overcome my aversion to amp head overhang, which is proving a little difficult. Rob

Played Crazy at a jam then at a dep and it just felt awkward ascthe drummers didn't leave any space. Felt so good when back with a drummer playing it properly.

Two carbon strips and just one truss rod would not be enough to withstand the string pull. You really need two truss rods and one carbon strip to compensate the enormous pull of the 12 strings.

With my main duo, I am very heavily involved, from booking / organising through to choosing the majority of covers and co-writing music together. I think all the lead tracks / singles have started from me. Aside suggesting lyrical themes, I let Nick do the lyrics as it's definitely his area. I think we both acknowledge that it is all very much a partnership. I think we both bring something to the band that the other one can't and are hugely respectful of one another. Oh, and I run the social media too. My other band, I co-produced the debut record but now we're on album #2, I just write my bass parts and show up when asked. I practice my parts prior to getting together but my involvement is a fraction of what it is for my main venture. I think we value everyone's contribution and I have worked with them since 2016.

I was trying to figure out what swear word g**t*r was, and thinking what's wrong with greater gear? But then spotted you only had the same number of letters as strings!

Most of the time its about surviving the night with as few screw ups as possible.