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Righty. It actually stopped raining, so I got distracted working on my new project. The clouds have settled over south London again though, so I should wrap this tale up. Having reattached the neck and planed/sanded the fingerboard level (with an ever-so slight bow to it, as advised by luthiers online), I fitted the new adjustable bridge that I'd gotten from Thomann, using the old masking-tape/double-sided-tape/sandpaper trick to match the curve of the feet to the curve of the top. As you can probably see, even with the adjusting mechanism all the way down, this bridge is a good 3 cm taller than the old one, but still allows for a much lower action. While I was making these repairs I realized that the bung that holds the endpin in place was horribly loose. Many years of being dropped, dragged across the floor and generally knocked about by surly teenagers had mashed up the end-block pretty bad. I didn't have a way to fix that, so instead my wife quickly turned a replacement on her lathe at work. The new one is way bigger, but still a little loose – that's how badly mashed up it is. Finally, before I strung it up, I took a minute to strip the black paint from the tailpiece, as that was made from the same dense wood as the fingerboard, and they look better as a matched set. Here's the finished, revived version of Marylou, strung with a set of low-tension nylon strings. With these changes made, Marylou became much much easier to play (she's currently set up with a slightly silly action of about 7-8 mm on the G string). She was also a lot louder, to an extent that shocked me when I started tuning her up. I think the combination of reattaching the top properly and increasing the break angle really got things resonating. As a slightly frustrating postscript, when my tendon injuries cleared up and I no longer felt uncomfortable or nervous playing Marylou, I decided to put the d'Addario's back on. The nylon strings are a bit dull and clacky in a way I don't like. The d'Addario's were nowhere to be found however. I've turned the house upside down looking for them and have been forced to conclude that I must have thrown them away in a fit of hand-injury-related pique.

They got nuthin

Personally, I am really looking forward to it. We've already decided to make it a band social. Our singer has got a DVD to educate her daughter and her band about ST 1. The Italian Job II was nothing like the Italian Job (my favourite movie), but I still enjoyed it!

Of course you have the right to complain, noise above a certain dB level is a nuisance and is simply not allowed. And noise is a health problem as it can lead to serious health issues, stress being the first, leading itself to cardiac problems and neurological disorders. If you like noise, go and start living in a factory with 24/24 7/7 permanent noise, you'll certainly appreciate being in such an environment. Stop thinking you can make as much noise as you want without caring for the neighbours, it's so selfish.

I’ve just bought a genzler Magellan 350 combo. It’s a separate head and a 10” array speaker. They are connected with a mount. Extremely compact and the tone is killer. As I see you have used genzler you know the tone and quality

I watched the video but got distracted by a couple of things...

Happy VTDI user here - I've used it for motown, reggae, jazz, edge of breakup indie rock, heavy rock, disco... it sounds fantastic for all of them. It's well made, it's compact, it's easy to dial in your sound(s), it's an absolutely cracking piece of kit all round. I've never used the other pedals recommended (I'm sure they're lovely too!) but I reckon if you do go for a VTDI, you'll be a happy bunny.

Black one but wasn’t too bothered as price was right & I always wanted to try one .. not tried the ones you mentioned but can maybe try compare to two chorus pedals I do have .. tbc

I went to a jazz jam session at a rehearsal room and the drummer ran it really well. We discussed each tune, organised the solos and played to the nod. Was brilliant fun. What I’m trying to say is that not all jazz jams are bad, they can be really good. I guess it depends on who sets the context.

Make Up Your Mind - Theory Of A Deadman

Mainly, it's that we disagree that sound engineers should be dictating what's on stage and in use. When I was touring, I rolled with 2 8x10's and that was that, I was happy to work with engineers but they didn't get to dictate terms to me. As an engineer now, I don't tell bands what they can and can't use on stage, I'm there to figure it out and make it work. Will I ask them to turn down? Sometimes, if I have to, but in a small venue, I'm just as likely to let them turn it up and just not have them in the PA.

I personally know musicians that literally won't even noodle for 5 minutes on a non Fender product. The OP didn't seem fussed at all when I asked,in fact he just calmly answered and everybody just moved on but you are entitled to your opinion. He only listed Fender type products in his original post.

As said, British racing green 😎

How about a cool halfords primer grey

I’ll be honest… I’ve never played a Sandberg that I didn’t love the feel of. So I completely understand what you’re saying about the neck and it feeling so effortless there is nothing to distract you from your playing. Since I got my VM4 at the start of the year none of my other basses have had a look in!

Well as I said, taste is subjective.