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I feel I just have to share, the excitement is growíng So, after 20 long months of waiting my Wal MK1 is finished and soon to be on the way. Update photo from Paul.

Hopefully the final prototype - first gig test tonight and then i'll make a couple more for further evaluation. Now uses microsuction tape to stick to the helix so will fit both versions and is removable / repositionable with no tape residue stuck on the helix. Screen is now 3mm thick (up from 2mm) and laser cut/engraved

Or if they want to sound like Tom Waits...

Turn your own out of offcuts. On my Nozcaster I cut the head of a coach bolt then screwed it into an offcut, fixed it into my pillar drill, then went at it with shinto rasp followed by various grades of sanding stick. By clamping an engineering set square to the base plate you can get quite a consistent radius

Cheers Al. Totally hear what you are saying, however this is a signature amp built for Geezer Butler.... Built precisely to what Geezer and his tech required with some input from us of course and the Slave Outputs were/are important to what they want. Nothing about the amp was specified down to 'felt like a good idea at the time' I promise. This was never a project to just stick an artists name on a load of existing amps and just take peoples money like one of our competitors in particular may have just done.... with that I guess they have to make the money back they are paying him somehow... ;-) Main point is that anyone buying a Head Of Doom is getting exactly the same amp as Geezer is using built by one of the same two people who built Geezers not a watered down version with his name on.

But the two aren't mutually exclusive - you can be "creative" AND know how to read music. One does not prevent the other from occurring.

Attended audition, passed audition. Didn't mention it in case I didnt get it! Very chuffed to get this one!

And that's exactly why I love 'em.

I've had Sadowsky Black Label Flats on my PJ for a couple of years now but took them off last week and put the original set of Blue Label rounds back on. Yesterday they came off again and the flats went back ready for last night's Jam. They sounded great the through the house band's rig, an old Peavey head and a Trace 4x10. They are staying on now, so yes I'm addicted. I also recently fitted a set of Labella 076 1954 Vintage flats to my '73 Precision but not had a chance to try them through a decent rig yet. That pleasure awaits.

Thank you

Re the ‘you will our backline or else’ gigs, I had 3 or 4 of those last year, used my own kit every time. If it doesn’t need a truck to move it and your kit looks well maintained, you got there early, you’ve shaken the sound guy/ girls hand and learnt his name, even paid him/her a sincere compliment they seem to be fairly obliging.

Just bought some subs from Mike. The man is a superstar and it was an absolute pleasure to meet him. Purchased goods in better condition than described!

Check some Fat Matress live with Reading on Gittard duties !!!!

That view down the neck from the end of the headstock is lovely. You know your curves young man. I like how neat your wiring is too.

You'll have to be second in the queue for the combo, I'm afraid! haha! The Nano Mark is a cracking bit of kit...

Stunning looking guitar!!! Once again very jealous of the job you’ve done!!!

but now you can run a RAT cable between all your pedals! surely that's useful??... right?...

Had all my amps and cabs in the house this week and used the opportunity to take a family shot: The basses and amps are quite self-explanatory. A few word about the cabs: - The Tweed cab to the left is a DIY 1x15" sporting a Jensen 50 Watt C15N. - The cab behind the Dingwall is a Sieben Audio Design 15/8 with Fostex speakers. - The Music Man cab is the version with EVM12L speakers - this cab sounds fantastic with the low wattage tube amps and Fender basses. Only downside is the weight to which the monstrous magnets of the EVM12L's contribute about 80% I guess...

Wow, your wrist must be quite sore ... ... All those autographs to sign..!

That is stonking! Amazing!

Be under 30..? Oh dear. 'Making it'. What does that mean, anyway? Quite a few famous artists had a terrible time of it, really. My definition of 'making it' is not being poverty stricken, having somewhere warm and dry to live, food, drink and a loving family. Not very rock 'n' roll, I know. You can live fast, die young, do drugs, drink too much and be a rebel who plays by nobody's rules but your own if you like. Been there, done that (except for the dying young bit) - and it's highly overrated.

Yes, this is my experience too. It's why I like them so much. I thought I'd give EXPs a go; I do love my Elixirs but then again I always liked D'Add nickels, so the coated ones could be the best of both worlds..? No. One month in and the buggers are already as dead as Julius Caesar, and it's not like it's been a busy bloody month either. Back on the Elixirs for me.

so they were real idiots, not fake idiots?

I was never a huge Oasis fan but I thought this was one of the best music documentaries I’ve seen. Thoroughly entertaining.

Our old producer did the sound for Oasis on their far-east tour, and he said that they really were more like a street gang than a band. He didn`t seem to be of the opinion that they were trying/acting in any way, that was just how they were.

My two pennorth: anybody with aspirations to be a professional musician in any capacity really ought to learn to read the dots if they possibly can. It's the language that musicians use to communicate with each other, and not being able to follow a part will put you at a distinct disadvantage in many work situations. Even for the more casual musician it's rarely a bad idea in and of itself. That said, it's not the be-all and end-all of being a musician (as some have claimed on these forums in the past). It's still perfectly possible to be good on your instrument, take your place in a working band or simply play for your own pleasure (which, after all, is what many members of this forum are doing if we're honest) without any real knowledge of notation. Tablature is a perfectly useable format that by the way has a long and distinguished history in it's own right (and not just for guitar and bass). In my time as a tutor, I would say that less than 20% of my students had any real need or desire to read notation. Maybe it says something about me and/or my students, but IME ramming it down the throat of somebody who has neither the need nor the inclination for it generally proves counterproductive.

Bollocks. Misread that. Mike brown and robert m corich. Nope i've never heard of them either.

Four different versions of the MM head? What a strange idea.

I have to agree, unfortunately. He always seemed as though he'd be much happier playing guitar and that bass wasn't his passion or his first instrument. From what I've read, this was likely true. His reputation is largely based on the recordings, and he wasn't always playing on them, IIRC.

And a little more progress...

Joined a ska band

Impedance goddamit!

Yes, depending on the PA of course. I was also wondering, whether in smaller venues (with smaller PA's) whether it could work the other way around? Perhaps with the low bass into a 1x15 cab, and the higher bass frequencies going into the house PA? Of course, that 1x15 cab would probably be the heavier option then.... Be interesting to experiment with doing this sort of stuff though, or from other Rick owners who've tried this sort of thing

I've done private functions for years in my previous band, some amazing and some quite underwhelming. What you need to remember is nobody has come just to see you, they are there for the event and the socializing. We used to find it rewarding when a corporate / professional kind of do which looked like it would be full of people not listening turned into a jolly event with a full dance floor. With my ELO tribute band we occasionally get asked to do private events, usually because the guy booking the entertainment is a massive ELO fan and doesn't understand that most of his audience won't be. At one such event we were asked by the punters to play Mustang Sally / Brown Eyed Girl etc and they didn't get why we didn't do them

Fender slightly modify the same old things and give it a new name, the same depressing business model they’ve followed for quite some time. They are in one hell of a rut. It’s sad that a company once known for such revolutionary innovation have descended into being their own tribute band.

Hi Spikey, and welcome to BC I've only ever played either my former Rick or my current Shaftesbury clone in Stereo mode at home... and that wasn't via a proper splitter - just using a stereo lead It did sound nice at home, but I didn't fancy carting two rigs around. (Mind you, these days I often carry a tiny spare head!) Could you think about taking one amp rig, and maybe putting the second signal into a PA? - perhaps via a D.I. or pre-amp pedal? Let us know how you get on with your live stereo experiments

I suspect we all sympathise with where you're coming from Big Red; but if it's the case that Ashdown now have (generally) fantastic and responsive customer service and from what you are saying it is a big improvement on what you experienced 7 or 8 years ago then that is something to be applauded and cheered, right?

To be honest, it's more about knowing your capabilities and when to, or not to, wade in with the size 12's Especially when you take what would be a perfectly acceptable neck and then do THIS with it! But, with a bit more work, it became this: Then, with still a bit of fine-tuning to do, it started getting to where I think I was trying to take it: I could cut deeper than this, but to be honest, from a playing point of view, this gets me up to the 22nd fret with not the slightest feeling on the fretting thumb that I've reached the body . I'm going to classify that as 'objective met'

[quote name='BoogieZK' timestamp='1421670610' post='2663726'] Here is mine: [/quote] I know I'm late to the party but that is simply amazing. Beautiful.