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a ha hahahahaha!

Nice to see Diego Maradona keeping himself busy on BVs!

Getting the drummer to play quieter is like cutting the lawn with a tumble dryer.

From my humble observations and what I hear from people, venues don’t want space taken up with a full band and large speakers/amps, and they don’t want the deafening volume that a large amount of amateur bands seem to want to play at. Sadly in nice bars/clubs a full band is a bit too much for a lot of punters, but they can tolerate a quiet innofensive acoustic duo who just play ‘background noise’. There is a nice bar in the nearest town to me and they have live music a few nights a week. An acquaintance goes there fairly often with work colleagues etc as the food and drink is good, and overheard him say as soon as the local blues/rock/cover band of choice fire up for the night they all get out as soon as possible. I think a lot of the time people just don’t want to hear another band playing the same old dross or murdering modern pop tunes in their local. I’m guilty, I play in a covers band and despite being pretty good (IMO) I would probably avoid a bar with us or anyone else playing 😂

Here's the antidote ...

Thought I'd share this experience in case someone else has the same problem - it might save you some hassle/cash. A while back my MXR M87 died. The level meter was still functioning but there was absolutely no sound coming from the pedal output. I did all the usual quick fixes (contact cleaner on jacks, replaced footswitch etc) but to no avail. After a bit of digging I discovered that the output op-amp in this pedal (TLC2262 in case you were wondering) has a maximum voltage of 16V. Obviously this would normally be OK in a pedal that runs at 9V, except that MXRs "Constant Headroom Technology" feature is essentially a charge pump circuit that doubles the pedal's internal voltage to 18V. It shouldn't take a genius to work out what therefore ensues if, like me, you're unlucky. I replaced the TLC2262 with an AD822 (which has a supply voltage of 18V) and my pedal now lives and breathes again. I believe MXR will fix pedals under warranty for a flat fee of £75, whereas replacing the blown chip cost me less than a tenner and a few minutes fiddling with a soldering iron (the TLC2262 and AD822 chips are both surface mount - soldering these can be tricky unless you're experienced in doing so). It appears that mine is not an isolated issue as a quick Google uncovers many such failures, so I figured I'd pass this info on in case any other BC members' M87s suffer the same fate. Please use or disregard this information as you see fit!

I hadn't heard of Hot Rods so I googled it to see what they were... Found a thread on a drummers discussion board answering an identical question about being too loud for smaller venues, and one of them honestly suggests that to be quieter on stage the offending drummer should mic up his kit because that way they can turn the volume down through the PA

Absolutely this! Our shedbuilder invested in one about 3 months ago - same issues, he's naturally loud so the volumes creep up for everyone blah blah....... We thought we'd only use it on certain gigs where we are scaring the landlord but we've found that our whole sound is miles better with it and now use it almost all the time. As well as limiting the overall drum volume its tightened the whole sound up and i can slot the bass in a lot easier with the kick (which we put thru the pa/sub). Nobody's suffering from cymbal ears any more either. We can get a great controlled beefy sound at lower volumes. Its also a great topic of conversation with the crowd - especially when we tell them we fill it with water in the second set :-) And we're looking for some stick on Garfields to stick on the inside where he cant each them whilst he's playing.

The recommended approach is to position a piece of cord or edge of a cloth under the edge of the knob, (or the remaining insert), then pull the string/cloth upwards. Don't punch yourself in the face when it goes!

I told you at the time that joining a band with John Hall would be a disaster!

...was his solo a spoof..?

I took out the passive circuit from my Super P today and installed a Stellartone Tonstyler. I got hold of an old 16 click bass model; they are not made anymore. Just: WOW! This is how it should be... - First position is straight to the output jack, bypassing the filter. Crisp and crunchy! - Second position is like a regular tone pot fully open. - All others have a steep roll-off, leaving much meat and potato all the way up to where it cuts. No wet blanket syndrome... - The last position is all about the dub, but with a nice full and warm low mid, giving body to the tone. Here is a nice YouTube clip demoing... No going back!

Anybody seen this? Looks amazing. ATB Guitars in Cheltenham do sell some choice vintage stuff. They also have a mint 1980 MM Stingray in at the moment. https://www.atbguitars.com/store/product/1965-fender-jazz-bass-sonic-blue-ohsc-nr-mint-1965fjbsb/

Hello Everyone, I'm Jacob, I have been a lurker for quite a while so thought it was time to join the conversation. I used to play a lot when I was younger, but kind of fell off after I finished at university and started 'real life'. Anyway, I recently picked the bass up again and have really gotten back into the swing of things and am enjoying it, even thinking of trying out for some bands once I get a bit more confident. My gear is pretty random, I play a 5 string LTD F-205 with a pair of EMGs which makes me look like I am going to head out church burning, picked it up from a mate who was pretty much giving it away because he had overspent. I play it through a small Ashdown After 8 combo which is perfect for my needs. I am planning on getting another bass at some point but don't know what, mainly because I don't want a 5 string because I never use the B and the LTD is very uncomfortable to play sat down but am also unsure as to what sound I want haha! Looking forward to chatting with you and contributing where I can!

I don't just play Jazz you know.

Not the Flying Machine, by any chance ?

Good one this! As far as I'm aware, the sound in my head is a sound remembered - although I don't know from when or of what. Not to mention the fact that the memory can often play tricks. I guess it came from the players who influenced me in the '60s and '70s. However, they were pretty diverse (Jamerson, Macca, Jack Bruce, Andy Fraser, Ric Grech, John McVie, Pete Farndon) - so presumably an amalgam then. It's smooth but punchy, weighty but clean... well, I know what I mean!! But knowing that I'd recognise it when I heard it didn't help much, as there's so much stuff out there to try. I've been satisfied with my sound before but, after lots of trial and error, what really hits the spot now is my Subway 800 through a couple of BF SC3s. This seems to work with all my basses and the only pedals I use are compression and volume.

thanks for the heads up.

Somewhere in June, and no. I read it on leftybassist.com, it was posted by a member who works in a music store and got a mailing from Fender. Supposedly they're replacing the MIM Standard series, same way the American Professional replaced the American Standard.

Sounds like a couple of nice projects looking forward to see them progress

Played a few times in Paris....Rex Club.....New Morning Club....FNAC department store Make sure you've always got your ID on you and do not loiter...we were frisked by the police while hanging around waiting for our tour manager

Please say you're in a Can tribute band

You sure it isn't one of those superinposed joke vocals over a video thing? Like

Just a mini-hijack continuing on @Jimothey 's excellent explanation of the sellotape trick. I'm doing a partscaster for @Harryburke14 and he wanted something quirky on the headstock to do either with his name or associated the Peaky Blinders. I thought - ideal opportunity to try out the technique. Still got to varnish on top but even without - FANTASTIC! So, so, so much better than my previous method. Many thanks for sharing the tip @Jimothey and back to your excellent mod job @BrunoBass

Norm Stockton on bass?

With a 'regular' drummer and bass player The Who would have been boring, I bet. It was KM and JE's pyrotechnics that made that band what it was. They were both pioneers in their way. If PT can't see that, he must be a ****.

"Next month, the one and only scale guitarists ever need" Doh. Rae,. Me Me Me Me Me........

I’m using GHS flats branded as Lakland JO flats. Really nice good tension and wonderful feel. I’m a bit gutted that rounds are working better for my current 5’er gig. Still though the GHS are good. I also like ‘Jazz’ flats. Great tension if you’re new to flats they're not as stiff as some of the big names I.e. Jamerson flats and the like.

Good evening, SF, and ... Plenty to read and amuse you here, and lots to learn and share.

One of the upsides of writing music on my own from a darkened bunker is not to having to engage directly with other human beings during the process… unless I choose to and always remotely over the ‘Net. Saves me a ruddy fortune in hand sanitiser.

Personally, I tend to be able to put up with most people until the limits of their talent has been exhausted. I've definitely got some not very friendly relationships with former band members, but they started at the point of the sacking (or shortly beforehand). I haven't been surprised and am not fussed by them, but it always seems to be that when things are going well in the band their annoying tendencies are just little quirks like everybody else has got, and when things are going badly they are evidence of what terrible human beings they are. One in particular, was a really nice bloke, but being a lead guitarist, a bit of a c#nt. When we formed the band, me and the drummer were waiting to see exactly how he proved to be a c#nt, because there was no evidence of anything we seriously objected to, maybe he was the exception that makes the rule, great feller, good to hang out with, etc. By the time we sacked him it had all soured and we had no desire to ever see him again, and certainly never play in a band with him again, and we've all stayed out of each others way. But if he hadn't been so much of a c#nt in the band, I'm sure we'd all still get along brilliantly

I'm on a sorta' similar project. I own 2 USA SR5s and would never dare such a mod on them, so recently got a nice used SBMM Ray35 to do the P+MM franken-thing, been updating a TB thread about it. I'm waiting for delivery of a Wilde (Bill Lawrence) P-46 pickup to add to this. Also trying other pickups I have at hand with a rather "ratrod" test rig (in this photo with a cheapo -Donlis brand- pickup)... My intention is to integrate it as much as possible into the Musicman scheme, preferrably thru' the stock preamp. In the case of a P pickup I'd route the lower strings part of the P in its "standard" position but move the high strings' part towards the neck, reverse P. I'll update as soon as I do the final install. EDIT: BTW, I've made all sorts of switching mods to Stingray 5ers (both 2 coil as in this case and 3 coil as my USA SR5s). Besides this pickup addition I'm all for full humbucker flexibility. I particularly love how the neckside coil of the stock humbucker sounds when soloed (something not possible when stock either for the 3 coil -single+dummy mode only uses the bridgeside coil- and 2 coil -doesn't even have single coil mode but the "filtered series", which I don't dig at all-). Just ask via a message (not to hijack this thread) and I'll point you to threads and sample videos I've made about it. Being able to solo the neckside coil of a musicman adds a great "P meets Ray" tone in fact, all the punch, authority and cutting ability of a Musicman, plus some of that distinctive P "clonk" we all love. The bass in the photo (a 2-coil humbucker SBMM Ray35) has in fact one of those mods, which simply cut either coil for real single coil tones when in parallel (or none for the stock parallel wiring -and for the other series positions to work-). Can do 2 more tones apart from the stock 3 settings.

There’s a few videos on YouTube about it but it’s really simple: 1. You print off your logo on normal paper using a laser printer (won’t work on inkjet) 2 Cover your printed logo with sellotape then using the handle of the scissors rub the sellotape for about 1 min making sure all the sellotape is firmly stuck down and there are no air bubbles 3. Cut out the logo leaving a few mm’s round the edge 4. Put the logo in cold water for about 5 mins if it curls straighten it out again 5.Carefully rub the paper off the back of the sellotape and you will leave just the logo on the sellotape (if it feels slightly gritty then put it back in the water and carefully rub it again till you don’t feel any grit) 6. Wet the sellotape again 7. Place on your headstock or wherever you want the logo to go and blot with some kitchen towel remove any air bubbles and excess water then leave to dry 8. Once dry you can then apply your finish and flatten the same way you would a water slide decal See it’s simple and a very cheap way to do it In the style of blue peter here’s one I did earlier......

This is my Jazz, modified a bit

If you look closely you can also see this 2002 Jazz Aerodyne in the background of my avatar :-)

I suppose it's a bit early in the game to tell them to go fück themselves with a traffic cone

There's a Superfly 500 currently on eBay finishing in about 9 hours time (Sunday 11.52am BST) and the bidding is only £84 so far!

I bought Brendon’s Freya P51 style bass. It was a perfect and easy transaction. The bass is excellent, it was well packed and the comms were great. Spot On Brendon. 👍👍👍👍👍

Brendan just acquired some pickups from me. Swift payment, good comms, valued forum member. Thanks for your business.

Sold a Warwick Streamer to Brendon, no hassles nice and easy cheers bud

cool no worries lol.

Coheed and Cambria - Good Apollo I'm Burning Star IV, though just for balance I will be listening to Boards Of Canada - Music Has The Right To Children after the former has finished.