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The Millennium Falcon, in the condition it was in when Lando had it. My tinnitus to go away To look like Helena Christensen People to shut up about the beatles.

Not being one for grandeur I'll settle for: No Brexit Well funded public services and one of these:

Any retirement package that looks better than "Death in Service"...

There's a band from Brighton called The Bar Stool Preachers - cracking band name imo

Bugger me, that's an uncanny resemblance. Has it finally come full circle: that Fender have started copying other people's copies of their original instruments?

Sleep.

World Peace. S.P.

Below, the OG of the Fender Roscoe Beck Model, if not mentioned beforehand. My STEVENS Slant 4, from Michael Stevens, https://www.stevensguitars.com/news/ One of America's best, an original builder for FCS. Michael built the model as a 6-string for Roscoe, later Fender made their variant which is highly regarded. Mine is light and powerful. Stevens winds the pups & pretty much builds by hand. It took close to 2 years to get; I was originally told 1 year, but brush fires around his compound in Texas delayed things a bit! One of my faves, for sure.

on my list? for people to say, "lets call it quits, I won't get you a present and you don't get me one", it's the present buying/giving I don't like about Christmas, it's nearly as bad trying to think of things for people to buy me as trying to think of things to buy other people, bah Humbug.

The usual really. World peace. The end of poverty and inequality. For all humanity to be immune to every disease. Just kidding, I want a p bass with flats.

Deja vu: Colour coat is done, and clear is on-going. Maybe another 3 coats then I'll let it sit over xmas before attacking it with sandpaper & buffing. General Finishes say cure time is 21 days for the High Performance. We'll see......

Seems Fender may have been keeping an eye on Schecter with the new parrallel universe model!

I do the lights for my 4 piece band and have found the following approach work well. All lights are LED. - 3 par cans with white light on stands at side/front of stage, one for each band member except drums. These are permanently on and are pointed at chest height to avoid shining in our eyes. We found this to work better than having these lights on the floor pointing upwards. Colour and effect lighting is then to the rear and side as follows; - Colour stage washes on stands at sides. - Contrasting colour lights on floor to sides and on drums. - Moving head lights to sides on floor and on stand behind drums. Gaz

Amen to that, if you find a unicorn bring it round, ill spray it any colour you like ...

In a complete fantasy world with no consequences (and without wishing any actual physical harm on anybody) I'd have a bomb put under the Houses of f*cking Parliament. A big one. In a slightly less fantastical world I'll take a house with enough garage space to house all my fantasy cars.

Yes definitely add No Brexit to my list too. I'll raise that to seeing Trump removed from office too.

Oh God no! That would mean going a whole week without beer. Never gonna happen! 😂

Ours will probably be defunct before Tuesday. Now there's a band name. Defunct Before Tuesday. If only it was a punk band. I can come up with a million names for those.

A half decent retirement package and a cottage somewhere near Keswick.

“That kid in again?!” ”yep” ”you letting him tune everything for you?” ”yep”

I was about to audition for a band over ten years ago. I'd seen an ad on party sounds, I think. They talked a good game and said they'd done European tours, went on about welcoming people in and being open minded and accepting and so on... So I'm thinking that's great, they aren't expecting a session pro. So I look up the band name to try and find evidence of this European tour.... The only musically related online article I found was a blog by a musician. Long story short and unbeknownst to me, the band name was a coded way of asking a man you don't know if he is a homosexual. Being a younger and less open minded chap I politely declined the audition saying I don't think I'm the right fit for them. When they asked why I revealed I had just found out what the band name meant and I don't think I'd be comfortable being in that band and made some joke about being from a northern backwater town. I received back a lecture on my small mindedness and how places don't make people.... The whole thing was a very bizzare experience and left me feeling puzzled and slightly ashamed, though I was only ever polite to the person I interacted with.

I started a thread on this forum in early October about the weight of bass guitars and why the manufacturers or dealers don't specify the weights of the instruments. I've just changed my bass for a lighter model because I have back trouble and even my 9lb Chowny was too much for me after a short while. My new Italia Cavo (semi-hollow) bass is around 7lb and sounds good with flat wound strings. It also is much kinder to my 68 year old spine than the Chowny. I loved the Chowny but my back didn't appreciate its mass.

Easy, just blend "The Happy Mondays" with "Haircut 100" How about "100 Mondays"? I'm reserving "Happy Haircuts" for myself. 😏 😁

Heel transition starting to get there...

Currently back on a downtempo trip with this possibly the best of the excellent DJ Kicks series, slightly edging out The Thievery Corporation.

Studiospares have knocked £20 off their M2000 open backed monitoring/mastering headphones, now £49, I've just picked up a set. I already had the 1000 (closed back). I could see the open backed ones being handy for my drummer so he won't feel so isolated when recording. Also, surprisingly, there's very little spill from the open backs too, you could easily use them for tracking vocals. https://www.studiospares.com/Headphones-and-Speakers/Headphones-Studio/Studiospares-M2000-Studio-Headphones_448780.htm

Nice!the classic for a reason.I really miss my Cl rig ( nowt like it) I used to boost the mid and high (selector in the middle) drop the low to a quarter with ultras engaged and it was tone heaven! hope it serves you well dude..I dont miss the weight though 😉

Close! Box of wine 😎

Not wanting to get dragged off the point here but wherever there is a difference between perceived volume and actual volume there is a technical reason for the difference, that's the reason I keep posting to try and explain the technical side. I simplify things a little sometimes but in this case I specifically said through the same speakers, so same efficiency and same frequency response. In which case the same loudness. Valves are a special case, they compress the signal at high levels. If you used the same amount of artificial compression you could get the same sound levels out of a SS amp. I love the sound of a valve amp, they sound magic but there isn't magic inside, just engineering. People do, and should, buy amps and rigs based on sound alone. In the end that's the only important thing but some people are curious about the technical side of things and it can help you home in on what you are seeking having a little knowledge. I don't think anything you said was wrong but the statement you quoted is correct. A 300W valve amp will be louder through the same speaker as a 100W valve amp.

Remote country cottages are great when you are fit with your own transport. i'm going to move next to a hospital when i retire!

I heard this a few weeks ago and although I like the idea of a bass and guitar show at the same time, but there's one major downside: it's in the exact same weekend as the Guitar Summit in Mannheim. I wonder how many companies will pick Mannheim and how many will pick London, especially after the B-word hits the fan.

It's good that you went out and played in front of people. That's the story here. Blue

The Ray 34 has already had its headstock logo changed to StingRay... https://sterlingbymusicman.com/pages/stingray-ray34 They've still got the Sterling by Musicman logo though, which is the bit that makes the least sense to me..... but then Sterling (the person) said that no-one would get Sterling (the company) confused with Sterling (the model), so no need to worry. 🙄 I'd love one of the new Stingrays but the price point puts me out of the running.... It wasn't that long ago they were knocking out those 133 series 2EQ rays for under a grand.... you'd think the new ones would be cheaper seeing as they're saving the cost of a screw for each neck joint

Trace Elliot were at one point in the 1980s THE best bass amp around. They were used up and down the country by a ton of bass players (who could afford them) and compared to what was available at the time, were light years ahead the competition. They had a unique, full, quality sound which was perfect for finger and pick styles but excelled in slap & pull style. You could see these amps being used by so many different music styles, from Reggae to metal, funk to pop. They were expensive at the time, but you really did get what you paid for. The one you have pictured in the Mk V series GP11 AH500 which was one of the best around at the time (early 80s). I had one, along with 4x10 and 1x15 fane speaker loaded cabs. The sound was absolutely immense and super loud, to the point where it really could get uncomfortable for drummer and guitarist. I used it with a 62 Fender Precision, 76 Fender Jazz bass and a Yamaha BB1100s fretless. The sound was amazing and as I said, it really was hard to get a bad sound out of the rig. Sound engineers loved them for their hand DI out at the back and the handy feature of a noise gate was the icing on the cake. I've used Trace gear in various guises for most of my bass playing career, in fact I remember the Series 6 being demo'd at the British Music Fair in 1986 I'm that old! The weight of them was what put me off, as there were lighter cabs around. The quality that went into them was revolutionary at the time, with the graphic, pre-shaping and sheer volume - not to mention the green and black colour scheme set off by the UV light just looked great on a dark stage. I used a small 100watt GP7 1x15 combo throughout the 1990s along with a Status 6 string and loved the sound. I finally gave up the ghost on Trace after using one of their Series 6 2x10 combo valve hybrid amps and the weight just being too much for me. Still love the sound of Trace gear and always feel nostalgic when I see the Series 5 and 6 amps. Can't believe the second-hand prices nowadays compared to what they used to be. Oh, by the way, they used to be manufactured in a place called Witham in Essex which I visited on more than one occasion for a service on these amps. They were superb there, with first class customer service too.

Another budget option just tested: my son plays bass too and is 2/3 my weight, so my bass is heavier on him than it is on me. We took turns playing the same riff and he sounded miles better. Ergo, heavier basses are better.

No, I just choose some - unlike the bass, on the French Horn it actually takes a considerable skill/effort to play what you can play in one key, up a tone or so. So if I'm feeling good I'll just do higher and higher scales of the same; then if I'm flunking stuff I'll go lower. Also its worth mentioning, although I don't expect many will "get" this - horn players don't necessarily think in actual proper pitch of notes. Instead of thinking "If I press the 2nd valve, I'll play B-D#-F#-B ie in B major, they'll think "I'll press the 2nd valve and go from horn in F to horn in E, then play C-E-G-C"; because historically (and its still true and still you come across it a lot in music) that's what the horn USED to do before it had valves, and the harmonics achieved that way aren't quite 12TET but in fact sound more natural, so you'd often strive to see the patterns and minimise valve fingering some of the time (and at other times, deliberately put in an alternate fingering to 'cheat' it and help with a difficult slur). Its hard, but worth achieving, situations where the lips and only the lips are doing the changes, not the fingers. So its what is practised. Also it helps pitching in the keys you enter - pitching is an absolute beach on the French Horn and if you did it, as well as all the other technical issues it WILL DEFINITELY improve your ear training because if you don't, or can't develop good pitching on the horn you basically may as well not even bother trying to play it at all, it would sound so bad.

Bought my first proper Spector from there in the late 80's/early 90's. A beautiful (used but mint) cherry sunburst US made pre-Kramer Spector NS2, in its case...... I had only just started work so they were good enough to take a deposit and let me pay it off over a year! The day I went in with my dad to make the final payment and take it away will always stay with me and started the big love affair of my life with Spectors. I can still remember opening the case, the look of the bass and the smell of the case/polish.... Ah, good times.... Still have the bass too!

I bought this Precision bass just over 3 years ago I think. It's originally a Squier VM and had satin finished maple neck/fretboard. Not long ago I'd had it up for sale as I'd sort of 'gone off of it'. However, I bought a Mexican Blacktop P bass neck for it. It's now my number 1 bass. The new neck has lacquer finish, which I prefer, and the much nicer looking spaghetti style Fender logo on the headstock. I went the whole way and got an F neck plate as well I shouldn't like this bass at all as I've never been one for natural finishes, but this is now such a lovely bass. It feels nice, and with some flatwounds on it, it sounds gorgeous. They're not the best photos, but here we go...

The strings it came with - very dead black strings I am guessing, but I was in Bristol yesterday and picked up some Daddario XLs, so that problem will be sorted. Shame, I like the look of the black strings