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I've got both, trust me, it doesn't guarantee success!🤣

When Paul McCartney (the original one) was training his replacement (the current one) and teaching him their repertoire, Paul (the current one) was prone to wandering up the fretboard which frustrated Paul (the original one), who worried that his plans to abscond and live a normal life in Milton Keynes could be scuppered if Paul (the current one) didn't get everything just right. Things came to a head during one song when Paul (the original one) erupted and shouted at Paul (the current one) "MONEY? NEVER ABOVE THE FIFTH FRET!" James Jamerson happened to be outside walking past the slightly ajar window of the rehearsal room at that very moment and, even though he wasn't fluent in Liverpudlian, understood enough to get the gist, but interpreted it as "There is no money beyond the fifth fret." He told the story to his friend Carol Kaye who has since claimed credit for it.

Absolutely agree; IHMO the original '64 T'bird was the finest passive bass that Gibson ever produced. The "tune-a-matic" type bridge is a joy, and the pickups sublime - they're the units that Mike Lull and Thunderbucker Ranch "reverse engineered" for their Thunderbird pickups. Only downsize was the big headstock on a skinny mahogany neck with no volute; they had a strong tendency to snap at the top of the neck with any impact. I think the headstock on the bicentennial (and onwards) was smaller and thus stronger. Entirely gratuitous pic of my 1965 T'bird IV -

Ah, the old 'big bad PRS' thread raises it's ugly head again.... A few points: If you aren't a PRS member - you won't earn. That is unless you are published, get airplay/streamed and your publisher is honest enough to pass you a few scraps. If you are receiving commercial broadcast or airplay.... or you're gigging regularly in medium sized venues (oh, them were the days) then it's worth joining... If you are a PRS member then radio & TV airplay gets reported regularly and to a generally high standard by the Broadcasters, but if you know of any broadcast that you haven't received money for after approx 6 months then you can tell PRS direct. PRS has an unclaimed royalty file for all members who know they have had airplay but haven't received money (possibly due to incorrect or missing reporting). You can find your unpaid works there and claim them. If you are a PRS member and gigging then YOU should report your live performances. If they were ticketed events in arts centre size venues or above then they should be licensed to pay out on the % of box office. If they are smaller pubs etc then you may be able to claim a small compensation using the 'gigs & clubs scheme'. Do NOT leave it to the venue, or your band manager to do this, even if the venue ask you for a set list! Neither have any interest in you getting your money (unless you were stupid enough to give your band manager a % of PRS royalties...). It's called the music business, take care of your OWN business when you can...! If you are playing music on a radio/playback system etc in your workplace or on the shop floor then you are using music to create a 'pleasant working or customer experience'. That music is therefore doing a job and should receive a payment. Do workplace radios etc pay out exactly what was played? Of course not! That would be ridiculous in admin time, effort and costs. There'd be no money left! It IS paid out across a huge sample of music of different genres receiving heavier rotation at that time.... and then also paid out across lower earning music as well to attempt to redress the balance. It's an imperfect system, but as musicians/writers we should be glad that someone is giving it the necessary attention on our behalf... PRS is a non-profit making society, staffed by musicians, for musicians and is always trying to reduce costs/increase payouts. They are the #1 low admin cost/high payout royalty collection society in the World and have well known overseas composers flocking from other societies to join as a result. They also do solid work with new talent (PRS foundation/event sponsorship/showcases etc) and have a fund for older struggling composers going through hard times as well as other charitable, music promotional projects Are they perfect? No, far from it. No company is, especially in an ever changing environment (Covid, streaming, no live music, Brexshit etc). There are ALWAYS improvements to be made.... but their heart is in the right place and they are a huge force for good in lobbying Govts and industry organisations in protecting and maximising member rights. Directors earn salaries commensurate with any other highly experienced music industry professionals within the non-profit making area, but there are no fatcats per se.... As for this new tariff. It was agreed after consultation with all the major music industry bodies, but it is a fluid thing and expect there to be changes/improvements with time & experience. Sounds like I'm a salesman, right? Well, I'm just speaking from experience, having worked there for 25 years now, only on an average senior admin pay but proud to be assisting my fellow musicians and making a positive difference.

To look at the 'objectifying' point in a different way. Isn't it a little insulting to assume that both of these women are so dumb that they don't realise that wearing tight tops that are too small for their boobs to fit in is going to cause a reaction? I'd like to think that they're both intelligent enough to know exactly what they're doing, and confident enough not to need strangers defending them against the inevitable reaction. It isn't sexist, as@Silvia Bluejay has pointed out, men do exactly the same thing for exactly the same reaction. It's like someone tattooing their face, man or woman, remember it isn't a sex thing, and then complaining about not getting the job in customer facing. They tattooed their face to get a reaction, then got the reaction. We all do it to some degree don't we? Do none of choose our stage wear because of how it will make us look? In our Mod band we will often be suited, and it has to be the right style suit, not because they're comfy but because they put an image across. Does nobody wearing a t-shirt with a band logo on think that it portrays an image to the onlooker? We all make decisions partly based on looks and vanity, from clothing and hairstyles, to car choice and colour. How many home owners paint their house purely to protect the underlying building material? Or do they think when the house starts to look dirty with the black and green algae that grows on it, or the red stains that leach out of some, I'd better get this painted, it's looking terrible, what will people think of me? We all know that the things we do affect how people see us and the women in the OP are no different. They dressed for a reaction, and got a reaction.

Don't know what the fuss is about, I spotted the 'Happy' Jack Casady Bass on one of the clips, watched a further 10 seconds and moved on. If I want to see women singing Country or Americana I turn to Margot Price who's a lot more authentic IMHO. Here she is at Sun Studios a couple of years ago with a really good bassline too....

OK, this might go on a bit, but this is pretty much it. When I was a wee lad, Hamer were the new kids on the (guitar) block; sure, I was aware of Gibson/Fender etc. but my exposure to these brands was likely via Beat Instrumental, Top Of The Pops, the Bell catalogue (and so on). I can still remember the fevered, 'what was that guitar?' conversations at school the night after seeing Slade on TOTP where Dave Hill would be playing the Super Yob or a Burns Flyte. (This would never happen now, I suppose, which saddens me!) Anyhow, in the early 80s, Hamer were carrying out some fairly persuasive and proactive marketing...I'd go up to Denmark Street with my mates and many of the shops there had piles of these full colour US-letter sized flyers for the various Hamer models (The Special, Sunbursts, Vectors, Standards, Prototype - just type 'Hamer Flyers' into Google and you'll see how radical this was); we'd all pick up the flyers and have them taped to our bedroom walls when we got back. Despite none of us having the available coin to actually buy one, we did feel that Hamer was our brand, which was odd considering we were just a bunch of home-counties kids; Hamer were a little bit mental, a bit risky, a bit exciting and a bit edgy. We were all huge Cheap Trick fans too, which kind of sealed the deal. On one trip to the smoke, I happened upon the Cruisebass flyer below...early to mid-80s. There was a small pile of these postcard-sized things and the same shop also had the bass itself (in the same red and black livery) hanging on the wall and it was just beautiful. Cue angels singing. Smitten. The price tag was ridiculously expensive, my memory is clouded, but I think it was well over a grand, maybe £1,250 or more. Back then I was doing filing in an office and earning £250 a month, £50 of which went to my mum in housekeeping(!), so it was unattainable - which is why I ended up playing Ibanez stuff for so long (£187 for a Ibanez Roadster RS924 was pushing it). I was always looking for one; I'd owned other Hamer basses...a Scarab, Chapperal and I still have a FBIV (Thunderbird), but I've always wanted a Cruise. Sure other basses curried favour (predominantly Thunderbirds) and a couple bobbed to the surface for a while (Rickenbacker), but the Cruise was always there just under the surface, just rare enough for them to be out of reach, with sellers believing they're worth way more than they realistically are. I paid £600.00. I know it's not much, but think about it for a moment, it's a handmade (boutique?) bass, made in pretty small numbers by a team of less than a dozen luthiers in a little woodshop in the Chicago suburbs. These were the same people who made these made the guitars used by hundreds of bands from (love 'em/loathe 'em) Cheap Trick, Judas Priest, Skid Row, Kiss, Def Leppard, Lita Ford, The Police, Aerosmith, Nick Lowe, The Pretenders etc. etc. Roll forward to 2021, @cetera was the first of many to let me know this was up stupidly cheap. It was always coming to me...

Are you trying to be recreationally offended?

A lot of you will know because you signed the e-petition on the Gov.uk website and have had the email today but for those who haven't the matter will be discussed shortly On Monday 8 February the Petitions Committee will hold a virtual e-petition session to discuss arrangements for UK musicians in the EU. So maybe time to get your views into your MP for presentation to the session. It looks like the government will continue to blame the EU for the situation that has arisen as per the initial response to the e-petition, so I'm not expecting any great change but worth trying to raise the importance of the matter to your MP, there is clearly enough support amongst the population for a solution as the petition gained enough signatures to be debated very very quickly, most e-petitions get nowhere. I was going to add this to the original thread but it has been locked.

I can see the TV adverts in years to come. "Have you paid too much VAT? Are you due a repayment of customs duty that was unduly paid? Call us now on...."

There’s a useful Facebook post here from Fish, ex-singer from Marillion. It’s rather long, but well worth taking the time to read. It lists the various ways the current situation will impact touring. Bear in mind the guy has years of experience in international touring, what he’s saying is based on his experience, not on what some guy told him down the pub. https://m.facebook.com/story.php?story_fbid=10157827728953587&id=54830663586

Honestly, you all have no idea how pleased this makes me. I've lusted after one of these for about 30 years and snagged this one on eBay last week. Obviously, there's going to be good and bad stuff to consider when you're talking about a 35 year old guitar, so let's cover the bad stuff first (like you do). It was VERY grubby and unplayable out of the case; a frankly horrific back-bow on the neck (I slackened the truss rod by may two full turns), the bridge was at best 'gooped-up', so I needed to douse the part in WD40 to just allow the intonation and grub screws to move. The nut slots are quite wide, but the nut does its job, so no issues. The P-bass pickup wouldn't adjust up or down, took it out, the old foam wasn't doing anything, but more alarming across both elements of the pick-up, three magnets surrounding the poles had come out and two were magnetised to the other side (imagine two books next to each other with the poles between and then two on top of each other with the poles on the spines) - a chap on the Hamer Fan Club site enlightened me to the fact that 70/80s Di-Marzios were all prone to this problem. [Edit: I've added details further down the thread...the problem/solution might help someone in the future.] I've never seen anything like this before. After I reinstalled it (with springs and some soft foam underneath), I did feel that the D&G strings were quite a bit lower in output than the E&A. The strap buttons were loose, so I've taken these out and am waiting on some felts to arrive before I install a set of Dunlops. [Edit: I'll be cleaning the board and oiling it later today.] OK, moving to the aesthetics/good stuff, it does look fantastic to me. Paint is good (7.5/10), zero checking, but there is a bit of chipping around two of the machines and a little (inevitable) bucklerash on the rear (although no paint loss). It is very light (weee). [Edit: There's still a lot of meat on the frets.] After a set up and a bit of additional tweakage, it plays wonderfully, got the action down to what I'd class as 'clean with a bit of rattle. Tried it through the Darkglass and the dUg last night, I have to say it sounds decent enough through both, but feel that theDarkglass favours an active bass, this does sound nicer through the dUg. Nice dirt/grunt with everything open. Neck is lovely... Moving forward. Hmm. I will get a (black) scratchplate cut for it at some point, but no rush. While I do love a tweak, so at some point I'll swap out the pickups and loom. Again, no rush. This bass was more about the getting than anything else, I'm happy with it as it stands. I'll be 100% after I've done with the tweaks. Might even stain the board...

Still just cheap shots that would not have made a thread if it featured a worse band with no women displayed like that. Some people here are showing their true character and it's pretty disappointing.

A locking mechanism that prevents volume being increased above sound check values on instrument, amplifier and pedals. Fitted to guitarist and operated by bass player.

Serial number checks out at feb 2005. One of the last built by SLM in St. Louis. I really do wonder why it looks and smells like a brand spanking new amp. Zero traces of any use.

Hi, I’ve just finished my lockdown project Harley Benton kit, and I’m chuffed with the results. I have only dabbled with playing the bass guitar over my 50 years of playing guitars but needed one for some lockdown home recording. I know I’m not a real bassist but it pains me to say I’m really enjoying playing it. I now it’s bad having the Fender decal but I won’t be selling it. No it’s not a wrap it’s stretch fabric like used for leggings. It’s stuck on front and back only. I only choose that fabric because it allows the fabric to go into the con curved part on the back. Because the fabric was quite thick I had to use lots of layers of rustins plastic coating to fill all the wholes. When it’s hard you can cut and blend in the edges. When you have enough depth of coating I sanded it flat and handed over to my son who a car sprayer. He blacked out the edges to hide where the fabric is blended in then lacquered it. Look on YouTube there’s a few people doing it.

This seems to be where I left it, so almost done, but I'm all about my new build currently, hopefully can share soon! Got the fingerboard gluing to the neck now!

Then do it yourself. It's quick and easy and there is no reason not to. If your compositions are any good their ability to generate performance royalties will well surpass the life of the band that originally recorded them. I still earn performance royalties on songs I recorded and released over 40 years ago. And as I write and record more music my back catalogue builds up, which is more potential royalty earning sources.

One of the things I always liked in those early brochures were the suggested rig combinations, which a few people above have commented on. It might be fun to comment on any sightings of some of these combinations. The one I always remember was Doug Wimbish when he came to Australia with Living Colour. His rig was 4 AH500s (or AH600, I can't remember which), 4 * 1048 (4*10"), and 4 * 1518 (1*15") - so basically, 4 stacks. I saw them in concert, but he also did a presentation at a local music show, and it's difficult to explain how loud he was - I'm pretty sure Sydney Airport probably rang him up to ask him to turn down a bit as the Jumbo pilots were having a hard time telling if the engines had started up or not!

I have 2 basses and I’d use them on any gig. All my basses are bought to gig. That’s the only reason I own them. If a gig was rough enough to cause me to worry about my gear, I’d be more worried about my safety and probably wouldn’t be doing those gigs anyway. When my bass isn’t being played I’ll store it in the bag at the back of the stage, behind the gear. I’ll mostly use the P bass at home, because it sounds better at low volume.

Brilliant thread DiMarco. Thanks for sharing it with us. I remember that Mark V catalog, I had it and probably read it 1000 times before I eventually got a Mark V AH250. TE were really difficult to get in Australia, and insanely expensive, but the sound - wow! I kept the amp for years, gigged it for years, and never had an issue with it. Just the best kit for bass.

For 1 year of playing, you have done a good job there Caz. Family Man plays buy the neck, Robbie Shakespeare plays back by the bridge pickup. Where you're playing is fine, you'll find your sound with time. A lot of your sound will come from the combination between left and right hand. Keep doing what your doing and listen to the detail in the note length and you'll be fine.

@Raslee has sent me the neck - and what a nice neck it is But yes - it does have issues. As @Raslee says above, the truss rod is broken, but as he also mentions, there is a significant bow set in the neck. And there's a bit more - the fretboard is actually coming away from the neck. You can see both the bow and the separation here: I suspect that the trussrod, trying manfully to counteract the above bow plus the extra bow from the string tension, finally started to pop the board off. So far, though, there doesn't seem to be anything unfixable. First job is therefore taking off the fretboard and having a look at what's going on under there...

You mean some people have a different opinion? Well, hell, we'd better not post anything just in case someone doesn't agree with us.... Yep, that'd help!

Ain't Gonna Cry No More from Whitesnake's Live In The Heart Of The City (1980). My playing is a bit messy on this - sorry, too much adrenalin! Ain't Gonna Cry No More (live).pdf

To set the scene. Last year Mrs Bert and I decided that as we both had everything we wanted it was a bit of a waste of time trying to think of Christmas presents to buy each other so we opted to buy a new TV instead. After much pondering and reading many reviews we bought a Hisense Roku 50 inch TV. The TV arrived and was swiftly installed. Fantastic picture and loads of apps to explore. One of the selling points was the built in Roku which I’d read enabled you to watch virtually anything from anywhere for free. I’ve yet to find them yet but I keep trying. The only thing I can complain about is the sound, it’s rubbish! The reviews I’d read commented that the sound quality wasn’t up to much but I didn’t expect it to be so bad. So, we’ve bought a brilliant TV but with a Cr*p sound. What to do is the question. I know thinks I, we’ll buy a decent sound bar. The alternative was to set up the bands PA in the front room but Mrs Bert was not at all keen on this option. After reading many more reviews I ordered a Sony sound bar from Argos which cost around £100. Set it up and the sound was worse than it was with just the TV and I though that Sony was supposed to be good. Back it went. So what to do now. Read more reviews obviously. One product kept getting really great reviews, the Sky Soundbox. If you’re Sky customers it costs £199, if you’re not a Sky customer it costs £499. That’s quite a lot for a sound system but it was our joint Christmas present so we went for it and spent £199. It arrived quite quickly, only a couple of day and was swiftly installed. WOW!!! What a sound. It’s truly amazing. Very easy to install just an HDMI lead from the Sky Q box into the Soundbox and another HDMI lead from the Soundbox to the TV. Then an optical cable from the TV to the Soundbox. Select it from the setting menu and it’s all controlled from the sky remote although you have to use the Soundbox remote to select between HDMI, optical or Bluetooth. You can select different sound modes from the sky menu, normal, voice enhance and late night listening. The sound is truly spectacular, even the BBC news channel and News night intro tunes have incredible depth and I can hear all the bass that I’ve never heard before. Normal TV shows have a new depth of sound and watching films, the sound is all there. Explosions sound like I have a large sub woofer and the sound width is spectacular. I can hear sounds coming from beside and behind me from this small box sat under the TV. I have had surround sound before but stopped using it as the dialogue was difficult to hear but the Soundbox gives the same effect but you can hear everything perfectly and it goes pretty load as well if you want it to. If you’re looking for a new sound bar, I’d recommend looking at the Sky Soundbox and putting it at the top of your list. There are loads of reviews on the WWW. Take a look before you decide.

They arrived tonight. Set them up & they do sound fantastic. The Mrs didn’t expect them to be so big (that’s what she said).

Got it today, just put it through an hour or so of playing along to songs on YouTube. First impressions are it’s a heavy, quality piece of kit, like all Ashdown gear imo the sound on its own is ok but in the mix it excels, and that the drive is far too much for my needs. I can get a just breaking up sound from it though, so it’s not unusable. I think for my classic rock band it will be the ideal backup on a pedalboard option, but certainly home use is where it’s at for me, I get that great sit in the mix Ashdown sound at home volumes. Later on I might get the valve changed as others have but no rush. Edit - what I forgot to mention was the fact that even boosting the treble & high mids the sound doesn’t get harsh, there’s obviously a greater definition when they’re boosted but none of the brittleness you can get with some pedals - and indeed, amps. The sound has that warm “spongey” feel to it that comes with valves, and the D & G strings don’t sound thin in comparison to the E & A, always a good sign of a great piece of kit. So far I’ve tried it with a Precision with CS62 pickups, a Jazz with CS62 pickups and a Precision with Seymour Duncan Quarter Pounders. Once I’d established a core sound I’ve found it can be pretty much left alone and each bass sounds great in its own right.

The next on the Thank You roll of honour is @Berserker who sent this pile of stuff that arrived today. Can’t say thank you enough to all of you who have made and are making donations whether they be massive or small. It all means so much and I am so grateful Again many many many thanks Jon

I have a small amount of experience regarding PRS by way of questioning licence fees for playing music in my tattoo shop. My MP at the time was David Milliband and via him questions were asked at the Commons Mixed Media Committee. Long story short, the way their company is set up, they appear quite benevolent and all I got from this was a letter on House of Commons stationery. I do not belief they work in the best interests of musicians, but rather to maximise payments to Directors.

Regarding Sentric, as you pointed out they take 25% (IIRC) of everything regardless of whether they have generated the income or not. As a publisher they ought to be pushing to get the works you have registered with them out to people who might want to use them, but AFAICS they fit more the modern definition of a publisher in that they make your works available to any interested parties looking for a particular style of music but that is it. And what should it be any different when they can take their cut of the performance royalties for doing absolutely nothing. IME to make full use of Sentric's services you should create instrumental only mixes of all the works as well as the standard versions with vocals on them, because a lot of what they actually manage to place with TV and film producers is background music where those pesky vocals just get in the way.

Here's for you guys that like the Ernest Ranglin instrumental style.

I've been noodling it for only a couple of years, and I'm up to half speed. So that's me winning, when you think about it.

I had a long spat with the PRS a while ago about the 2 licences we have to pay for - 1 for our public area and 1 because music can also be heard in staff-only areas like the store room. They were adamant we needed 2 licences. After getting nowhere arguing about this I asked how the royalty money was distributed - they said it was shared among its members. I pointed out that our playlist was highly eclectic, and if I had to pay royalties I'd like to ensure that those whose music I was playing actually got the money. They said it wasn't possible to work that out; so I offered to give them a print-out of our playlist to make sure it wasn't just the already highest-grossing artists were getting other folks' legitimate royalties. They couldn't work with that, but assured me royalties would be properly shared out - they had no answer when I asked "how do you know what we've played?" So it's yet another tax... And I also discovered recently that I have to pay £40 a year to the information commisioner's office because I have CCTV!

I would take issue with the word 'become'

Sounds easy but very difficult to add in something like that which isn't part of the software we use. There's a big update due so perhaps there's some new functionality around it in there. You're welcome, by the way

Or the sacking of the lighting engineer or camera person?

You mean there’s more than 5 frets, I’ll have to wipe the dust off 😁

I aim to go back to the rehearsal space and have another play. I can only really use my phone but maybe that's better than nothing. Maybe I'll end up a wealthy influencer!! 🙂

Here’s yours: To leave feedback for someone else just search to see if they have one already; if not just make one for them. Here’s the search I made, just change your name to the username of the person you’re looking for https://www.basschat.co.uk/search/?&q=Beastie&type=forums_topic&nodes=23&search_and_or=or&search_in=titles

I'm kind of torn... Normally I would have said no-plate, as the top looks just so sweet. However, the more I look at it without the plate, the bigger and bigger that bell plate starts to look, and in need of the scratchplate the off-set it.

When was the last time you went to “hear a band with friends” you go to “see a band” damn if I had legs and tits....

As it turns out, the whole thing seems like its a hell of a lot easier the second time around. chalk that up to a combination of experience, the oak panels being a lot cleaner cutting than the obeche ones, and doing things in a different order. Firstly glueing up the laminates again with the oak in the centre. i also used a bleached maple veneer for the outside instead of the Koto, for the same reason. a tighter grain means less splintering and cleaner cuts: I think i actually prefer this colour combination to the yellower woods, it just seems a little more subdued. these are then cut up into the cross pieces and the little triangles needed for the rope pattern: and once we have them and check them for fit with the walnut and purple veneer core... i then start to glue them together. this is kind of a slow process. these are all cut by hand and are 50mm deep, so no two are 100% identical. this means carefully matchingand sanding 10ths of a mm off if bits dont line up perfectly. they're glued up with some high viscosity CA glue, which doesnt soak into the grain the upper middle triangle here is a good example, i had to bring it down by a tiny bit to get it to fit better but slowly but surely, with lots of measuring and lots of waiting for glue to set... here we are, 5 repetitions in. by my measurements, 7 repetitions of this and ill have a pattern that runs from the bottom of the headstock pretty perfectly to where the neck meets the body. the triangles will be made from some namibian rosewood fretboard blanks that are exactly the right thickness back in pickup land, im starting to assemble the bobbins. First, take a 5mm alnico 5 rod magnet, mark the north pole with a mark and then add a bead of CA glue around the bottom: then set it into one of the bobbin pieces, like so: i then use one of the bobbin holders as a spacer to ensure a perfect 1mm proudness to the magnet at the top, with only a drop of ca glue this time: and once the top is held in place with the drop of glue, i can remove it and carefully run a bead of glue around the seam using a cocktail stick: This is where it really helps to have CA glue of varying viscositites, the gel glue holds its shape and wont drip down when glueing the first piece, and liquid glue will wick into any tiny gap when glueing the second. and finally, a bit of a preamp update. the pots im using for this are Bourns 10% tolerance mini pots, which are approximately 10mm in diameter. this means that i can use components up to 10mm tall (10mm proud of the PCB) without taking up unobstructed space in the control cavity. as the opamps i want to use are high end, hi-fi opamps, i want the other components to be similarly appropriate for high audio fidelity. im therefore using 63vDC Nichicon fine gold electrolytic caps for the power circuit and decoupling cap, and some 10% tolerance box caps for those in the signal path: you can see ive also added the 4 IC sockets for the Opamps, and pins at either end for the power inputs, signal inputs and outputs and ground connections. the 3 pins in the middle are to connect the 2nd/4th order mode switch. i then start to add the resistors, which for this im using 1% metal film, 1W resistors. i chose these as they were the highest wattage i could fit on the board and in the 10mm vertical space: theres a lot of these to solder, and then another board to do for the other preamp before i run a test to finally decide on component values next step... winding some coils!