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@chris_b Not treating your customers like mugs or insulting them? Showing some expertise? Just trying to make a sale with knowledge and interest rather than assuming you deserve it? Not telling the customer what they want without listening to their actual needs? Those things cost nothing. I'd rather shop locally, but I'm not going to be treated like a mug in the process.

A few weeks ago me and a mate went to a couple of gear shops in Bristol. My mate wanted to buy some for of drum machine. He'd narrowed it down to the Roland Aira TR-8, the TR-09 and the Arturia DrumBrute. We went into PMT first, they didn't have the DrumBrute in stock. But the guy was mega enthusiastic, without being annoying, he gave a brief and knowledgeable rundown of the workings of the TR-8 and then left us to it, popping back every 10 mins to answer questions etc. We had a quick poke about with the TR-09, but counted it out. Chatted about gigs and stuff with the PMT guy for about 20 mins and then we left. We then headed to Elevator Sounds, a synth shop a mile or so away. After being stood in the shop for 15 mins looking at things the owner sighed, looked up from his laptop and asked if we wanted to try anything. My mate asked about the DrumBrute they had on display. Owner sighed again, wandered over, switched it on and pointed at some headphones. He then went back to his laptop. Meanwhile I was looking at all the modular synth stuff. He had a used module I wanted at a decent price. I asked about it, he replied with no enthusiasm "urgh, If you want it that means I'll have to get it out of the rack... "Don't bother" I said I'm not interested now. I asked my mate if he was getting the Drumbrute. In a loud voice he said "F**k this guy, we'll go back to PMT". and off we went. I'll never go back to Elevator Sounds. EDIT: The guy lost nearly £600 in 2 easy sales.

Is that Anton Du Beke on Les Paul as well? 🤔

Yep, they made the Squier PB-331 in black, white and sunburst. They also pop up slightly earlier than the E-series... below is mine, it's an A-series dated '85 (plus, I believe, Fender Japan made them in late '84 under the Squier JV series, though likely not exported... and they also came as regular Fender Japan models, but that's another can of worms). Great little basses.

Me - Do you sell Rotosounds? Them - Yes Me - Why?

I'm not wasting my time with a shrink when I could be running through the streets with ten mini capes flowing in the breeze behind me.

I've just ordered ten. With a five pound saving on each one I've just saved fifty quid in a matter of minutes. I can now get a 'free' set of flats with the money I've saved, and still have some left over.

So yes, anyway - this was today... The songs are coming together, so I had a bit of time to do some A/B-ing. Basically, as they have the same pre, the characteristics are the same - the richness & clarity. But the WB-100 is bigger and 'bloomier', whereas the R-400 is more focussed. So no surprises there, then...

Sorry Mate, but that's a contradiction. He either does a good job, or the frets are buzzing. You can't have both. Don't know what he had it for, but if it needs adjustment it would have taken nothing to do it. If the frets need leveling, he should have called you and got your agreement to do it while he had it.

I kinda feel sorry for the staff in music shops. I also feel enraged about the staff in music shops. I remember having a good chat with one of my friends (somebody who has worked in the one of the music shops in the midlands for many, many years). I said it annoyed me that whenever you go into a music shop and ask to try something out or be shown how something work, 9 times out of 10, the staff are clearly winging it. They have no idea how or what the device/software does... and even start telling you a load of horse shizz in the hopes of selling you something. His response to me was that the guys in shops cannot possibly know everything about everything they sell - and it looks worse because customers have often done research before getting to the shop (who would have thought eh?). I said that I agreed - but even the nominal level of understanding is rarely displayed. What angers me is that these same shop staff are usually sitting on their derrières - they could be learning about the products that they are selling in the times where the shops are quiet. I understand that not every member of staff can not be clued up on everything - so how about divvying up the products so there is at least one member of staff that has some understanding. I would have a lot more respect for a member of staff that says to me, "I can't help with the product in depth - but if you wait for xyz, they will be able to take you through it all in detail...." It's funny - the desire to be clued up seems to have vanished. A guy I knew, sadly no longer with us, could never afford any of the equipment that he was interested in but had a real passion for synths. This was back in the day before all the information was available to download on the manufacturers websites. He would often contact the manufacturers and purchase the operating instructions and tech manuals just so he could learn about the products that ultimately, he could never afford. Anyway, cut a long story short, he used to go into shops to play on this gear - and his knowledge of everything blew the shops away - especially when they found out that he was showing them all the advanced and deep editing features. Before long, he had given up his job of fruit machine repairs and went into music retail. Within 6 months, after the synth reps came in and saw what this guy was capable of, they were fighting over him to join them. Shortly before his death (very sad botched appendix operation), he was consulting on the embedding programming aspect of much of the stuff found in modern DSP. I often think about him - and his passion for learning - compared to the guys selling stuff that they haven't spend 30 seconds looking at or even having a brief look through the instruction manuals. It's though it should be a given that anything should be instantly usable to the nth degree with zero learning curve. Very sad. So yeah, it upsets me that the selling staff are mostly clueless about what they are selling...

There's an album i haven't heard in a while - it was brilliant tho wasn't it? Must get on Amazon and find a copy...

We used to play Girl Like You by Edwin Collins. Practically a one note bass line for 4 mins. I used to read a book during that one. Audiences liked it though.

If it's like I'm visualising it's reasonably common, though a pic would help to confirm. I've seen it on basses and guitars at all prices points (cheapys, Warwicks, US Fenders amongst many others) and it's simply where the wood has moved. Being three different pieces of wood they can all move at different rates and directions. There isn't a fix unfortunately, but it usually doesn't result in anything too disastrous. In extreme cases the wood can burst at the seams, but 9 out of 10 times you just get the lines like your'e seeing now as the wood has already moved to the position it wants to be in. People don't really think of body wood moving/warping, but it's actually quite common. That being said, if sending it back is an option, I'd definitely do so.

It'd be really useful if people described how they use their boards and the logic of the signal path. There's so much variety and so little overlap between boards, that I often have a really hard time imagining what combinations of pedals are being used and what kind of noise can be achieved.

Can I join in? Some wonderful suggestions here and so much I can learn from all of them. This little gem also springs to mind

Saw this on Instagram the other day - not the usual “any good for metal” finish...

I had to...

Just taken delivery of a BSW from Skinner and I'm on holiday this week - I haven't had so much fun for a long time! It's brilliant and ridiculous in equal measure and, far from putting me off, I'm delighted that I can see no reasonable applications for it in the foreseeable future other than contributing to the breadth of my grin. Win!

Just got this through my email... https://www.amplifiercoversonline.com/zencart/index.php?main_page=product_info&cPath=580&products_id=7373 Seriously?!

Tot a malmsteen wannabe, or any rock or metal player, the songs you name are a yawnfest and would rather gnaw their ears and digits off than play them. You may think that sort of music is the dogs' shiny bits but to many of us it's lift music's anal seepage. People eh?

Once I'm done with it, and assuming Mrs. WoT doesn't give in, we'll work on a road trip for it :-)

Ok, could someone tell me what's the real use of this cover ? Maybe for those living in castles to match the carpet on their stairs...

Yeah.... I used an RH450 for a year or so a while back. The WB-100 is in a different world. It's just there. Big, fat notes. I'm not going to use the word 'heft'. Oh, bugger. I just used the word 'heft'.

For now, we just have the B112-VT cab to pair with it. There is discussion for a matching cab but that has not been finalized, The amp will be available in the UK but I don't have an exact release date as of yet,

I've just ordered one of these (on a whim). My Mate has just got one and raves about it, even his Dingwall sounds better apparently. Hoping it will replace my BDDI. I realised ive been using the BDDI mainly for EQ, as i have a Pork Loin for dirt, so having even more EQ is going to be fantastic.......in theory. Not a cheap thing to buy just for a bit of EQ, but it does look lovely IMO, especially those red knobs lol. Oh, and @dood, yet more money spent after watching one of your video reviews ;-)

Gave it a good soaking - it ruined my iPhone. Have you tried a touchscreen pen? I don't use any form of touch device, can't get on with them. I do have problems picking up M3 nuts and washers and similar small parts.

When we looked at having a cover on one of our albums we contacted the writer, who advised that permission from them isn`t required - Guns N Roses didn`t ask his permission for a cover of his they released . However I think it needs to be registered with PRS so that the writers get their share.

But the clue, I think, is in your last phrase... Changed the world for those kids, I'd agree, but not 'changed the World'. A major effect on those that 'were there', but much less important (as a TV show...) for most of the planet; even less so for those who'd already been exposed to them and their peers. I remember their first passages on the Light Programme (we had no TV at that time...), and was well aware of the hysteria surrounding their every appearance, but to say it was like St Paul's epiphany would be a great exaggeration. There were many other groups around at the time that also caught our attention. A greater impact was the passage of John Peel on the airwaves to many in the UK, and possibly Europe. I'm wary, in any case of fanaticism in any form.

I assume BigRedX is talking about outboard preamp rack units. Most preamp pedals have bypass switches from what I've seen. Basically an EQ is a preamp. But like Lozz said, EQ pedals should be flat and transparent with the EQ knobs centred, whereas a preamp might still impart a bit of its own flavour. Also some preamps might have special contour, voicing or deep switches that make changes that would be difficult to replicate with simple EQ controls. Not to mention a bit of overdrive, which you may or may not be looking for!

Most (all) DAWs will only be able to load one audio driver at a time, with the audio driver only recognising one 'interface' at a time. In some cases (on Macs), it's possible to create an aggregate device, to combine inputs/outputs from multiple connected devices, but it's ropey at best. Ideally, to save yourself space and hassle, just buy yourself a dedicated audio interface that has the amount of i/o you require.....you'll thank yourself later! Si (For transparency I work for Focusrite, not trying to sell you anything, just make your life easier )

I’d love a sunburst Fender Japan model with a tort guard...

If you just need the EQ sound for some songs (or parts of songs) and use the standard passive tone the rest of time, then an EQ pedal will probably be more useful in that it will have a bypass foontstwich, whereas most outboard preamps are designed to be permanently affecting your signal.

I struggle to think what kind of punter a lot shops do take seriously and even what a guitar shop is for these days. I took the condescension and poor service for granted when I was a kid, on account of looking insufficiently like a member of Guns N Roses, but at this point I've been playing 30+ years and have actual disposable income and play every week in two bands. I buy gear. I don't want to repeatedly put the boot into PMT, but they seem to be utterly clueless. If you are demoing a pedal, at least have some knowledge of what the controls do - Strymon El Capistan - dunno, dunno, dunno - it's 300 quid so find out! Provide an amp and bass that can give some idea of what the pedal will sound like (MXR Bass Distortion through a practice amp and dead strings? No thanks). Get the bass guy to help with bass sales, not the trainee who gleefully tells you he knows nothing about bass gear. Read a bit.They had never even heard of Darkglass as recently as last year (blank look). I know there are more guitarists than bassists, but show some imagination and stock more than entry level Ibanez, twenty different Jazz basses and a couple of Musicman. How about not cramming them in the corner at the back of the shop too? With online trading rules guaranteeing returns, there's almost no point going into a physical store unless the store can add value. Chain shops like this have huge economies of scale (although apparently not enough scale to make stocking TC pedals viable. Really?). If they bothered to keep up with where the market is - what players are talking about and what gear people are excited about, shared some of that enthusiasm and stopped pretending that it's still 1989 and the only true music is classic rock, I'd seriously consider being a customer again. Rant over. I should drink less coffee.

I like those too - the ones on Musicman basses feel particularly satisfying and robust - however similar ones on cheaper basses do not -- rather like the same analogy with machine heads/tuning pegs etc. I suspect it may have something to do with the quality of the pots they're fitted to also. They come in black as well - and the original ones fitted to Stingrays had flat tops, not domed (the reissue Old Smoothie has them). The very early Musicman Stingray basses from 1976 had what are called radio knobs and they do indeed look like something from a radio (black plastic with a silver top). Funnily enough, possibly because of their rarity, radio knob Stingrays are quite sought after. I've never even seen one other than in photos.

Rudy Sarzo was the first guy I saw using that finger as a pick technique. I've tried to work on it on a few occasions but never really got it down. I used to play a version of Hot For Teacher in a band 30 years ago. We used to play original material but did HFT as an encore. We had to drop it in the end, as we were billed at a gig in Birmingham as 'the band that plays a great version of Hot For Teacher'! You need a hell of a drummer to do it justice! I have just listened to the clip above and the bassline is pretty much how I remember it. Probably easier than you might think at first, the little runs every second line of the verse are just a partial blues scale (starting on the 4th). You just need to work out what he plays under the solo. The solo'd bass track will help a lot.

I'm with The Greek. Although I do rather like the wooden ones on my Bex4. I absolutely can't stand the Gibson/Epiphone speed knobs, the black ones on my Dot (yeah yeah, I needed to slice some cheese) look like cheap toy ones.

Given the choice I'd have these on everything: That knurled finish means there's no slippage and you can feel how much turn you get.

An 80s E-series Squier medium scale!

Recently some better shops have opened up in the South Wales Area, but before that it was dreadful. We got a PMT in Cardiff City Centre, and I hear good things about 'A Strings' which is in Pontypridd. Before that we had the ridiculously overpriced Cranes in Cardiff/Swansea (now closed), and Gamlins is still there in Cardiff, but they're not the most 'interested' bunch really. Also GM Music in Cardiff where you literally cannot swing a cat.

Looks generic and values itself too highly; therefore it's a great fit for the Chapman name.

Here are three that I play with my little band - great songs, real less is more stuff.

I've always been quite enamoured by Stings bass lines, always tuneful but often very empty, so I'll offer up the obvious Walking on the Moon

No clues I`m afraid, but message Ashdown direct - they`re on here, or go e-mail via their website. They`re very good on customer service so you should get a response pretty quickly with a diagnosis.

Excellent. I look forward to that comparison. My Road Worn 50s MIM is something else with rounds, and I've got a set of Low Tension La Bella flats to try.

I think multifx (e.g. my Zoom B3n and Zoom MS-60B) is great for chorus, delay, tremolo and flange and of course being a tuner. I also find the B3n is really useful as a headphone amp with its aux in and headphone out. It's got these areas covered just fine. But I think all but the best / significantly pricier multifx pedals (and Zoom are in the value for money end ) struggle to come close to the best analog pedals on some of the 'trickier stuff': a) synth / filter, b) octave tracking both mono octave down (low and without latency) c) polyphonic octave up, d) compression and e) dirt.

Okay, officially raising eyebrows and GAS levels