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Nowadays legally speaking as there's a calibrated decibel meter in each and every venue in Luxembourg, yes, and they have become very strict about that. But I don't see the point of your remark, as it's simply another anecdote about way too loud gigs.

That’s apparently how Cliff Williams of AC/DC uses his. I tried it, couldn’t get on with it. Wish I’d been able to use it in the band tho (was bought & sold during COVID), who knows, might have loved it. Did try my 3-band eq ‘Ray with the band, just couldn’t get it to work - which in Lozz Speak means I tried to make it sound like a Precision and failed.

I think some of it for us is simply a few bad bookings. There are some gigs that aren't a good match for us. I have a tough time playing to people that have no interest in us. However, I'll take the blame, we booked it. Daryl

A choon, even

I think the bass chat community is a lot more mature than talk bass. Daryl

I decided to take the bull by the horns and remove the neck, in the hope that I would put it back together within ten years. A 4mm allen key is the right fit for the truss rod end, which is inaccessible with the neck on, so I looked for a spoke wheel adaptor. There was one mentioned on here but it was from the EU (guitarsandwoods.com) and with shipping it came to about £40. More hunting produced one from Grainger Guitar Parts for £8 all in, so that's now ordered.

You can pop round whenever @Merton.

You would think that he or the stage manager would have the power to stop the show on health and safety grounds for the audience.

Of course, there's another very dangerous connotation linked with the word, "spare"... BC'ers may be inspired to feed their GAS addiction with such heinous thoughts as, "I could really do with a backup **insert name of piece of equipment here** "THIS MESSAGE WILL SELF DESTRUCT IN THE NEXT 30 SECONDS..."

None of us will get bigger than this. A few years ago I played with an ex-ELO guitarist. ELO were playing a packed Wembley Stadium. The keys player was first on stage and had to press a button on the keys which kicked off a preprogrammed introduction and the first song. The whole band would join in at various points. It was pitch dark on stage, about 70,000 people started cheering and the keys player hit the delete button! That was it. No backup, no introduction and no first song.

Do I keep my German Corvette standard ,and get a setup to B-E-A-D ? Or do I sell and get a Warwick Taranis Corvette which is sold as B-E-A-D tuning ? 🤔

Good News - Guest Update I have confirmation today that Matt Gleeson of Monty's Guitars has agreed to come along and do a chat, demo and Q&A session on Monty's bass pickups. He'll also be telling us about Monty's future bass products (really exciting stuff) and will be listening to all your feedback on needs and wants regarding bass pickups, preamps and anything else. There'll be some Monty's booty in the raffle too. There'll be a couple of Monty's-loaded basses for you to try out and we'll be offering a pickup fitting service on the day if anyone wants to buy some and get them fitted there and then. Donation to charity £TBC for pickup fitting. We've agreed to do the demos through a couple of different amps (full valve, hybrid analogue, Class D) using an LFSys Monaco @stevie so that we get as transparent and as full a sound as we can from the pickups.

S'an instrumental piece of music. Or a song without words. Or simply, a ditty.

How does one “gently lambast”? it’s like “lightly deep-fried”

Anyone who knows my “chats” (students) will already have their coffee and biscuits within arm’s reach. Today, one of my students threw me an off-the-cuff question during a lesson. Ninety minutes later, we finally had to wrap things up—half an hour over time—because I wanted to make sure every detail was covered. The question was about using tablets, laptops, or desktops alongside audio interfaces for practice at home, recording, and live performance. We ended up diving into everything from hardware options (interfaces, multi-effects with built-in interfaces, etc.) and key specifications, to saving money with smart software choices. We covered IRs, neural modelling, Bluetooth and its drawbacks, latency issues and fixes, and even multi-path audio setups for separate signal chains and destinations (FOH, IEMs, backline). We finished with signal chain strategies for transmitting your sound efficiently and effectively. And I still wasn't done. I love these lessons, it's exciting to build a lesson on the fly.

Now the excitement starts. Work is coming on apace. Quilted mahogany front and ash body.

Very true. Yes, on a few preamps (depending on the frequency ranges chosen by the circuit designer) you can run them flat out, but most sound awful at ten tenths. Agreed re the 2eq Stingray preamp (I've got the OBP2). If you turn the treble control back down a little from your 'sizzle' point, the bass frequency richens and increases automatically as if it's filling the gap while the treble drops. It also reveals that massive 70's style Stingray punch.

Similar panic for me. Tartan Heart festival, being broadcast on BBC. Supplied backline. We're rushed to go on stage, so I plug into the supplied Peavey head and it goes through some routine of lights, like a car stereo demo mode. The bass made a sound and I didn't dare touch anything. Couldn't immediately see what any control did.