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Showing content with the highest reputation on 20/09/18 in all areas

  1. 7 points
    The best one I ever saw was at an Iron Maiden gig. They were being supported by a then (and probably still) little known band called Funeral for a Friend (catchy huh). They were a bunch of fresh faced young lads about 18 or 19 playing to an arena full of Maiden fans who just wanted to see the main act, and they were being heckled mercilessly and having things thrown at them by a couple of hundred hard core Maiden fans right at the front of the stage. Three or four songs in and they were going down like a turd sandwich at a buffet. At which point the singer who was about as old as my favourite socks, walked to the front of the stage, stared straight at the offending crowd, lifted the mic, and in a level voice said "F#ck you! I'm 19 years old and I'm up here supporting Iron Maiden, and any one of you f#ckers would give your right arm to be where I am now", at which point an almighty cheer erupted across the whole arena, the band started playing the next song and all the offending Maiden fans started moshing along. The rest of their set was absolutely brilliant! I've never before or since seen anyone turn a crowd like that. Absolutely legendary!
  2. 6 points
    Thinking about biker gigs reminded me of another one, again 20-odd years ago. This time, they'd set up a marquee beside a hotel out in the countryside near Peterhead, which was eventually closed down for actually being a brothel. The stage was an array of pallets placed on the grass at one end of the dubious-looking tent. Not covered-up pallets, mind, just pallets. Once our drummer had scavenged a sheet of hardboard on which to set up his tubs, we got started. After adjusting our volume upwards to drown out the generator in the corner, everything was going pretty well and much fun was being had by all concerned. Then the rain came on and, before too long, a howling gale started blowing in off the North Sea. It soon became apparent that more stringent pegging-down efforts had been required. What started with a flappy corner of canvas up at the far end soon became an entire collapse of that end of the tent. As we played on - and over the course of maybe 3 tunes during which frantic efforts were made to re-erect poles and guy-ropes - it gradually fell in, burying bikers, tables and beer kegs. Fortunately, our end stayed standing. Before long, though - and given that we were now playing to a sagging wall of canvas filled with flailing bikers having a great time of it - we were forced to bring an abrupt end to proceedings and swiftly throw the gear in the van via a human-chain of soaking and muddy motorcyclists before the whole thing collapsed. I drove past the next day and noted that somehow they'd managed to burn the marquee where it fell.
  3. 4 points
    Ted Nugent seems to be generally quoted with the famous quote of "if it's too loud, you're too old". However, following a recent conversation with a pub landlord and customer it seems then the modern day version in smaller gig locations should be "if it's too loud, you really are too loud". . . Some background - we played a gig at a new venue for us that's had regular live music for a long time. After sound check the landlady came over and told us we sounded really good and were the best band they'd had in for a long time. Obviously we're all smiling and happy but a bit confused as all we'd played was a few sections of three songs to set the sound up for each instrument. I asked her what it was she liked - she replied without hesitation that we weren't stupidly loud and she could hear herself think when we were playing and also her customers when they ordered. We got a decent crowd and seemed to go down well and spoke to her about possible future gigs. She said she really liked us but that she was almost certainly going to stop having live bands completely. Her reasons were really interesting: Too many of them are too loud - deafening the staff and punters and increasingly annoying neighbours Poor quality sound - guitars drowning out the vocals, bass making things shake around the room and everything sounding a bit disconnected One of her regulars joined the conversation and backed her up. He obviously knew a bit about live sound and he reiterated that bands were getting louder and louder (he mentioned they seemed to be able to do this even with small combos - which is true of course with so much modern gear). The thing that annoyed him the most was the imbalance of sound, only vocals in the PA, PA sounding 'thin' and lacking clarity and the dreaded guitarist and bassist continually turning up to drown each other out whilst the drummer thrashed away regardless. Neither of them thought the musicianship was poor - although they said they often couldn't tell because of poor vocal quality. They both also said that vocals were the single most important thing for most everyday pub gig goers and they couldn't understand why bands seemed to pay so little attention. Soon after we played another gig where the landlord said something along the same lines. He felt he was losing customers because his local bands were simply too loud week after week. He was always telling them to turn down but they always said they had to be that loud because they couldn't hear what they were playing. He said he was not booking any more bands this year This morning I saw a thread (not here) where someone was saying he was in a new band playing weddings and corporate functions but probably wouldn't be in the front of house mix. Another player then said he needed a really powerful amp that went really loud. I see this 'it's great, goes really loud' quote all the time from people playing small gigs and also so many players saying that the PA is just for vocals. I can understand that 'volume' is all part of the dynamics of playing live but surely it should be 'controlled' rather than the mayhem unleashed by so many pub bands? It amazes me that people still think, in an age where quality PA is easily available for not too much money, that being insanely loud is something to aspire to and that they don't seem to really care about setting a band up for the audience rather than themselves. Putting everything into the FoH mix allows you to balance the sound across all instruments so that the audience can hear everything clearly - especially those all important lead vocals. It also allows everyone on stage to pull back on volume so they aren't deafening each other and can hear what everyone else is playing (adding stage monitors or in-ears is a bonus but I realise that's often too much additional expense or is taking up too much floor space). The lead guitarist in my band sets his Mesa Boogie combo to 5w and never needs any more volume. So, apologies for the long post but it genuinely worries me that more & more gigs will disappear if bands don't get their sound in order. . .
  4. 3 points
    There is no excuse for being too loud these days. We used to be stupidly loud, but having bought our own basic PA have slowly brought the stage levels down to were I can speak to the drummer without shouting, and the FoH is at a comfortable 90-92db. Both guitarists use Marshall 50w heads into 2x12 cabs, I use either an SWR or an Aguilar AG500 through a 4x10. How do I know 90-92db is comfortable ? I have a cheap app on my phone. Go out front, turn your back to the band and listen. You’ll soon know what needs turning down (as against up). Many good sound engineers have taught me its better to subtract than add. The drums are in the PA but only to give the kick drum a chance to project. The guitars and bass are in the PA because it’s easier to get a balanced sound that way. We have a fiddle player who shares the vocal monitor to hear herself, so again keeping the on stage levels down helps her pitch. Finally, use the channel eq’s to create a space for each instrument or drum. One of my best weapons is a channel compressor on the two guitar channels. Both guitarists invariably tweak their amp settings (‘turn up’) after the first couple of numbers. My friendly compressors mean the FoH stays exactly as I set it despite their knob twiddling.
  5. 3 points
    What none of you seem to understand is that those are valve memories ...
  6. 3 points
    Well, they're having to adapt to the changing demographic and number of pub-goers. People go to the pub for different reasons. To meet up with friends, for conversation, to get out of the house, out of boredom, to be entertained, to get drunk, etc... Those that want to meet up with friends and chat in a neutral situation still tend to do that, although social media has undoubtedly had an effect on numbers going on the off-chance they will bump into friends. Those that went purely for entertainment/out of boredom are more likely to sit at home watching on demand TV, playing video games, going on the internet, drinking a bottle of wine in the comfort of their own home. Putting on bands mid-week used to be a sure-fire way of getting people into the pub on quiet days. Friday and Saturday nights were always busy but weekdays tended to be quiet. Bands would attract punters in the 18-30 group who didn't want to be bored at home but didn't necessarily feel any need to interact with others. Gigs in pubs, at least those that I went to, were never quiet, and the sound was never great but people still went to them. There was never any chance of conversation. Now, you're far less likely to be able to fill a pub with people who are just there to watch musicians play (regardless of sound quality) and have a pint by themselves. I'd say there's more demand for bands who are there as background music rather than the main event, and for that reason sound quality is more important than it used to be.
  7. 2 points
    Status Barracuda 5 String - £679 Now £SOLD shipped Mainland UK - No Trades Up for sale is my pretty rare Status Barracuda 5 String. A Status Super Jazz type instrument. Barracudas are a Status all wooden necked basses with graphite rods through the neck. Matched Amazaque wood is the material for the body and the neck. Very similar instrument to the Trace Elliot T-Bass of the same period. I believe that just a relatively small number of Barracuda's were manufactured in the late 1990's after the Trace Elliot partnership with Status had ended in the Mid 90's Very good condition given the age (c. 1998?) - a few scars and scuffs as shown in the pics, also some wear on the bridge pickup cover. Active Bass & Treble EQ EQ Bypass Switch For Passive 2 hyperactive Status J Type Pickups, plus the one dummy hum canceller (it is just a coil no poles). 2 Octave Rosewood fretboard Zero Fret Weight - 5.1KG Link here to an old Status Advert: http://statii.com/status_cats/catalogues/3/cat_1998status_page07.jpg
  8. 2 points
    I didn't think it was worth doing a 'Kinda New Old Bass' thread (or K.N.O.B. for short 🙄), so I'll just add to this instead. As you know, I went up to Status HQ late last week to drop off the Fender Flea. Dawn and I discussed what would be the best neck option for this bass. My initial thought was to get a maple coloured graphite neck as it would go with the exposed wood in the relic paint job and would keep the whole thing quite light. There was also the choice of blocks, dots or plain as well as having a black neck with the same options. I'm hopeless when it come to choices, especially when you can't actually see them attached to the bass. A deciding factor was that Rob had a black neck which had been commissioned by a mystery artist. This neck hadn't been used for whatever reason and after some enquiries it turned out that it was no longer required. I hadn't actually seen it prior to agreeing to have it, but I was sucked in by the fact that it was blank like ebony fingerboard on my 'Starry Night' Stingray. I visited Status HQ this morning to collect my Fender Flea. I was greeted by Dawn who showed me through to 'that room', which if you've been in it, you will know that there are more than a few things to look at in there! The 'Fleatus' was in the rack by the work bench, along with a myriad of other bodies, necks and complete instruments. Dawn removed it from the rack and laid it on the bench and said 'I really think the black works'. On seeing it, I could only agree with her that it had been the right decision. There was a little residue left on the headstock, so Dawn went to get Rob who came through and removed it. We had quite a chat about the old neck which was basically firewood at best. Looking down the old one you can see a massive bow in the last few frets at the nut end. Probably more than any truss rod could cope with. The new neck is very slightly deeper and as a result, is very slightly heavier, but the whole bass is nicely balanced and plays beautifully. I have no plans to replace the tuners with lighter ones as it sits very nicely on the strap. The sound is definitely different and this was to be expected. It's a bit difficult to describe, but overall it's less warm than the wood neck, but has more bite. Also, the tone controls seem to offer more flexibility in range than they did before. It also sustains forever. I haven't had the chance to put it through my gig rig yet, but from what I've heard through headphones on my Bass Buddy, it's going to sound great. I might even swap the pick guard back to the original and use it with my 80's band at the gig on Saturday. I'm super impressed with not only the neck, but the level of fabulous service I received from Rob and Dawn at Status. The only downside is that I now have massive GAS for another Status. They sure do make some incredible basses. Just to avoid the emoji's....
  9. 2 points
    probably another chip off the same block, the area round here is full of 'em. This village alone has ex-SAS guys, bomb disposal experts, champion water skiers and round the world yachtsmen. Often all in just the one bloke, who goes strangely silent when anyone who actually knows what they are talking about appears.
  10. 2 points
  11. 2 points
    Just heard from Bass Direct TT4 will be £1475, and there is a 5 string at £1599 TM4 at £1495 and the TM5 at £1625 That sounds pretty damn good to me!
  12. 2 points
    Hi guys And thanks all for your input, much appreciated ! Still, i must apologize to all but... thanks to oil + a cracked water pipe on the road i fell off my bike & was in Hospital for a while, reason why i didn't acknowledge your answers sooner.. 1st i should've explained that, same way i don't break E strings for breakfast, i hit the jack every now & then, not like.. 143 times a gig !? And yes, i AM an energetic player but NOT a destructive punk hellbent on wrecking each & every bass i lay hands on !!....LOL... That i've tried most anything i know off in the market that is angled, that i never had this problem w/ a side jack socket as i used to have and that being an artist/ silversmith by trade i have the necessary hand skills, the tools & workshop to relocate the jack if necessary - i just wanted to avoid that on this instrument as i love it & IT IS pristine new ? Kind of thing.. By the way i think someone asked & it's a Status S1 Classic Deluxe 4 string, in bright red metallic flake high gloss unlike ANYTHING i would ever be attracted to in a store to begin with but, slowly became the light of my eyes… that carbon neck ? It bloody makes the bass sing.. Speaking of PC, i would sell my first born to replace it if stollen….LOL… Anyway, yes i play bass slightly unconventionally. A mix of power chords, octaves played as chords w/ in between string ringing out harmonics + some jugglings i've stumbled upon, i use LOTS of FX, patches i build from scratch. Some are VERY close to what i hear & want, many a work in progress.. A lot into delays, chorus & pitchshifting, but also rabid distortion ( none of the usual bass mud but each string/note distinctly ringing distorted within the chord type of sound ? LOVE it.. ) wah wahs, etc.. + i use a Xotic SP comp, vol at 1 o'clock, blend at 9.30, toggle set on mid, as a 1 setting does it all comp. Some people like the music, some don't. I've got very perfectible technique, recordings are made 1, 2 or 3 takes max in a sketch archive way to later develop, ideas coming easily, i DEFINITELY need to rehearse & rehearse to get my sh*t right until it ''flows'' but when i finally get it right & sounding effortless ?.. The guys i play with like how it sounds & so do i but, to get those tones i must play the way i do & that implies every now & then hitting the damn jack w/ my knuckles. 2nd, yes the socket on my Status is not as low as the photo above, i also used to hit the volume pot as well & turn it down accidentally but i have solved that simply by inserting a leather washer under the knob then tightened it down, now it takes deliberate action to adjust the pot even if i hit it ! To give some examples i'm leaving below a few links to ''tunes'' i've posted in a web community i've joined a while back, a fantastic place w/ musicians from all over the world, of so many available genres to join in under the same roof for challenging oneself out of one's ''comfort zone'', not all imply i hit something as some are calmer than others as you'll be able to hear - as i hate recording/mixing, etc.. & suck at it, don't pay attention to the audio quality it's definitely not the best. If your stereo handles bass freqs ok, it sounds best at ''louder'' volumes, it's as if the sound ''opens up''... Live what pours out of my rig sounds VERY nice if i may say so myself, hi-fi but thick, lush clearly ringing notes across the full range, full of harmonics, a delight ! In the recordings ? Not so much... it sounds ''guitarrish'' as a lot of the tone's girth gets lost unlike live. It's in the funkier & lighter rock stuff with those ''snappy'' accent chord hand movements that i most often do the hitting. There's different sorts in there, just to give an idea : https://www.wikiloops.com/backingtrack-jam-27728.php - jamming along, octv + pitchshifting, bit of chorus & comp https://www.wikiloops.com/backingtrack-jam-92558.php - my bass is that 1st ''thick guitar''.. the other bass comes in at 0.28 https://www.wikiloops.com/backingtrack-jam-45925.php - 2 bass tracks, 1 w/ oct, 1 w/ chorus + comp https://www.wikiloops.com/backingtrack-jam-30866.php - 2 bass tracks, 1 my ''go to tone'' + 1 w/ oct + od, fooling around https://www.wikiloops.com/backingtrack-jam-63427.php - softer, 2 bass tracks, 1 w/ delays, 1 w/ chorus + comp https://www.wikiloops.com/backingtrack-jam-27621.php - 2 bass tracks, 1 w/ octvr, 1 w/ dist https://www.wikiloops.com/backingtrack-jam-36324.php - just GREAT drums & bass fun.. Sorry i added so many but it's hard to choose from 4 or 500 or so bits i have there, many not that interesting for 1 reason or another.. I tried to include in my answer a response to each one who has suggested jack options & cables but as competent as they all are i have tried if not the exact model, a very similar one of equivalent make/quality.. The right answer to me is definitely relocating the socket either Strat style or totally on it's side. I know how to do it & it's dead easy but hoped for some chi chi boutique wonder pancake jack at £75 a pop built correctly & i'd buy it as it would be a one time purchase & allow me to not modify the bass. Instead manufacturers prefer to make them cheap to produce & easier to break pancake jacks, let me guess why… 😉 Thank you all !! Nuno
  13. 2 points
    Don't Tell The Bride Yep, that awful program off BBC3. One of my bands should have been playing in the background of an episode years ago. It's not the kind of telly that I'd normally touch with a 60-ft remote control, but it would have been a telly appearance for a band playing originals, on a relatively mainstream channel, and so it seemed like a potentially good opportunity when first touted to us. It turned out our singer knew somebody who had put in a successful application to lay on a UFO/Roswell-themed wedding for his (very patient) betrothed, and decided he wanted us to play during the reception. Suits us, we thought, we can cheekily squeeze our more accessible material in between the standard covers. One of the things about programs like this is that they do like to pack out the venues, so every Tom, Richard and Harry was invited to make up the numbers. Even if being barely visible in the final TV edit didn't do wonders for our career, we'd have easily had 100+ impressionable punters to play to. Naively, we even pressed ahead with it when the groom told us that he'd blown all the budget on this ridiculous setup and had no money for the band. Sound familiar? One of the other things about programs like this is what an absolute logistical mess they are to film: the first take is never good enough; the cameramen missed certain angles that time; something's stopped working, bear with us; FFS Terry why didn't you hit 'record'?; and so on. Nothing runs to time. We were asked to drive up to an old airfield somewhere near Ipswich for filming. We knew we wouldn't be needed until after the first dance, but they asked us to get there for something like 10am anyway. Both the singer and guitarist had done TV before, and warned the rest of us that this was the reality of it: a lot of waiting around. Every so often, information would trickle through. They're just doing one last take of the vows; can you be ready in an hour? This becomes worse than standard waiting around - every so often somebody drops in to make sure you're on tenterhooks. Sorry, they need to reshoot a couple more snippets; we'll be back for you in another half-an-hour. Eventually, we were invited into the venue to soundcheck. It was an old wind tunnel - an aircraft hangar with some very effective acoustic treatment lining the walls and the roof. That's a weird sonic experience if ever you've had one. Our guitarist played some riffs to soundcheck while I walked maybe 100m from his amp to see how things would sound in the middle of the audience. It sounded exactly the same as when I was on the stage. Very impressive, but also incredibly sterile-sounding - you don't realise how much you miss room ambience until it's gone! Anyway, the soundcheck complete, they served a meal, about three hours later than planned. At least we got a good lunch out of them. We sit through the speeches. The couple finally have their first dance, and we get ready to play as soon as they've finished...until a producer wanders over and tells us they just want to reshoot a scene from earlier. Also, can the DJ put some music on so they can get some shots of the guests dancing? The latter request seemed odd to us. Surely the guests could dance to our music? And surely they'd continue to dance when the DJ took over after our set? It all became apparent after the first dance: after a day of filming, all the guests are knackered. The DJ piped in some music but even he couldn't corral more than half a dozen people up to the floor. Most of the assembled party looked like they just want a quiet cup of tea and/or a nap. The camera crew make do with what they can get, and we're given the all-clear to start playing. As we hit the opening bars, we look over to see the camera crew packing up and walking brazenly out the door. We are not going to be on television, we all realised. And the 100+ punters manage some polite applause from the comfort of their seats, but are too tired to give a rat's fundament. We decide to call it quits after five or six songs. The DJ fares no better as we load all our gear out of the hangar and into a van hired at no small expense to ourselves. The best man tries to call a half-arsed apology to us as we leave. We drive home, ruing the day we ever agreed to appear on Don't Tell The Bride.
  14. 2 points
    Look Ped, those photos are just not appropriate for a family platform. I know you are immensely proud of it, but I simply can not “cup it for a while” 😂😂😂
  15. 1 point
    Inspired by Basschat HB 51P mods & upgrade builds by Bruno, Discreet & others etc, I developed a desire for something similar but different. I have a lovely all original Fender 72 Telecaster Bass which, back in 2004 I wanted to duplicate as I no longer wished to gig the Old Girl. To start I managed to source an original 72 Humbucking PUP from a guy in the USA and had it refurbished by Bareknuckle PUPs. To create the duplicate I bought a Fender MIM Mike Dirnt and a Fender CIJ 51P RI. I changed necks added the Humbucker and sold 51P RI. During the short time I owed the 51-P RI I was not particularly impressed with tonal range of 51P. So my mission on this 51 & 3/4s Tele-P build is to create something similar to this:-
  16. 1 point
    Schroeder 410L speaker cabinet. Most people know these for being incredibly powerful, lightweight and sounding huge considering their size. This is exactly why I bought it. 1200w with 2 front facing and 2 side facing speakers. I am near Arundel in West Sussex. Gallien Krueger MB500 also for sale.
  17. 1 point
    Paul Young: how we made Wherever I Lay My Hat (That's My Home) https://www.theguardian.com/music/2018/sep/18/paul-young-how-we-made-wherever-i-lay-my-hat-thats-my-home?CMP=Share_iOSApp_Other
  18. 1 point
    Ah ha! But I try to keep up with all the new Britpop bands... Def Leppard, UB40...
  19. 1 point
  20. 1 point
    Great price for one of these. GLWTS
  21. 1 point
  22. 1 point
  23. 1 point
    One of the historic issues with Blues Juniors is they go from quiet to insanely loud with nothing much in between. A tech friend thinks its so guitars shops can say to prospective buyers 'Hear how loud it is, just on 3'. Apparently there's a fairly easy fix which involves changing the volume pot (or something) which opens up the available sweep. Another problem with Fender amps is that some people plug in a Tele set to the back pick-up then crank up the amp's treble in an attempt to get 'that Fender sparkle'. Instant ice-pick in the ears, particularly if you're the poor bastard stood exactly on axis to the speaker. The other option is to use a big amp but install less efficient speakers. The problem is that guitarists in search of LOUD proceed to install more efficient speakers (Eminence Red Fangs, anyone?) and then everyone dies.
  24. 1 point
    At the risk of turning this into a Dumpy's Rusty Nuts love fest... When my band supported them in the mid Eighties, at The Mardi Gras rock club in Nottingham we were allowed to use their p.a. Their gear filled the trailer of an artic but their roadies unloaded and set up in record time. Heaven knows how many thousands of Watts the thing gave out ( maybe should post this in the volume killing venues thread😉) but it was fabulous. They gave us a proper sound check, their engineer mixed for us and were generally lovely supportive people. A brilliant gig ...sorry ..back to your horror stories.😀
  25. 1 point
    I would say D shaped, wide and flat-ish-backed without being uncomfortably skinny. T
  26. 1 point
    Ta for reply. Interesting idea about getting some made, I'll keep an eye on this post for updates. In the meantime the search continues, even though it's defeated us all so far! Cheers, Ian
  27. 1 point
    Hi Pablo I installed a Fender humbucker at the neck of what was orginally a P/J. Solo'd it sounds great, it has more grunt that the original J-PUP and is far more usable in that respect. I wouldn;t say I can get a Stingray tone, but what I do get is closer to that than a Jazz. However, unlike that J-PUP, I cannot blend the humbucker and split-coil (Precision) PUP in any usable way, as soon as both are engaged at any decent volume (i.e., past about 6/10 on the volume pots) there is a complete loss of bass and I'm left with a bass tone reminiscent of the gear I was playing in the early 80's! I assume that this is a wiring issue that I need to investigate (the wiring is sound with all leads going to the right places, I'm guessing I might need to reverse polarity on one of the PUPs), but I didn't have this problem with J-PUPs.
  28. 1 point
    correct i do not use MK side riffs i use heavier gauge strings Notes,, etc , 1st, when i started doing jam sessions in the early 90s MK slapping was the Only thing not aloud 2nd so , i grew out of / quit , getting into all the paraphernalia associated to MKs playing ,,because of it what happened is, MK was reborn revived as a player in the social network revolution ,,eg when i 1st came on you tube 2007 ,, folks were rating MK, bass players were battling comparing etc ,, i basically said they were Not good bass lines ,,they went crazy , so, i did an upload where i was Singing ,, one guy, reply now deleted , compared this jam to a Sting gig
  29. 1 point
    Thats great, congrats! Welcome to the world of loop switching!!!
  30. 1 point
    Thanks for the heads up. I've just placed an order 😊 If GuitrarGuitar can get back to me with an earlier time for a replacement I figured I can always cancel it. Due in stock 09/11/2018 apparently. Update from GtrGtr: "I have just got off the phone with strings and things who have said that they have none in stock and none on order so a new one would be 9 or 10 months from point of order." Hopefully the Thomann ETA is correct. Fingers crossed
  31. 1 point
    Good luck and I hope it’s legedary, sure it will be. I been passive until this one, but went for modern slightly mid backward Seymour Duncan APB-1 pick ups. Hoping the Graphite will cling on to those mids and harmonics with a bit of distortion applied, I have not disappointed yet. Cant wait to see yours. Think I also must say a big thumbs up to Dawn and Rob, great people to deal with and a great product. FYI for those that are interested in Graphite but may not like the logo, they are looking to pop it on the back of the headstock instead if you desire. Drive safe
  32. 1 point
    Depends on your flavour of normal. Where there are complex curves, especially when machining metal, 5 axis CNC is most advantageous but for guitars, being relatively shallow in depth, complex shapes can be achieved easily on the more affordable 3 axis machines. You need an aptitude for programming them though, even with the so-called intuitive models. I suspect that I am not the only one to have issues with that aspect of the equipment. For those wanting to know the difference between 3 and 5 axis CNC. Yes. Me too. Heeheehee
  33. 1 point
    Thomann have an HH in that colour due in 7-8 weeks. Link here.
  34. 1 point
    The whole point of CNC is setting up a computer to remember how to make the same shape item repeatedly. You wouldn't normally use CNC for a 1-off.
  35. 1 point
    The body is now nearly finished. The arm/belly contours are done. I filled in the old pickup rout, and re-did it for a reverse P. I spent ages cutting out paper control plates of different shapes (including the Sandberg style suggested by @songofthewind , which look great) but just couldn't get anything I was happy with. Because of it's location (nearer the bridge) there wasn't much contour to it, which meant it just ended up mostly looking like a not-very-happy penis. And I'm not sure that's exactly the look I was after 😕. So in the end I simply decided to re-shape the body so that it followed the shape of the control plate, rather than the other way round. I think it's ended up looking pretty good. I also did drilled the holes for the pickup and bridge ground wires. Because the bass is going to be painted, the easiest way to do the bridge ground was just to drill through the side of the bass. I don't have a bit anywhere long enough to drill all the way through from the bridge pocket. One thing I forgot is that those long bits drop, so by the time it came out into the control cavity it was worryingly near the bottom. Luckily there were a few mm to spare, and I may fill the bottom with a bit of epoxy just to make sure it remains strong enough. Tomorrow, fretting and doing the roundovers on the body.....
  36. 1 point
    I looked into this a few years back, bought the paper then never bothered as it was far easier to order them from this guy Guitar Decals UK His decals are good quality and reasonable priced.
  37. 1 point
    we've played a few biker nights at the clubhouses (and I'm talking 1%'er clubs). Everyone is over 50 and injured! They don't/can't jump around but they appreciate the music and they pay well and our vans are always secure in the compound!
  38. 1 point
    😂 If you knew me you’d know how totally untrue that statement was, but nice of you to say! 😉
  39. 1 point
    In that particular band, it's not really worth a try. Everything has become too socially entangled - the easiest way is for me to walk away. I know drummers can play quietly without losing any their impact as I play with others who do, in a different type of band. Last week we were on holiday in the West Country; there was a jazz trio at the pub we were staying in, and the drummer only used sticks for one number. The rest of the time, he was using brushes, beaters or his hands, drawing people into the quietest and most subtle of rhythms with his fingertips on a cymbal. The audience were a table's width from the kit, and were entranced by the whole performance. Had he been playing like a typical rock drummer, I suspect the bar would have been empty in a few minutes.
  40. 1 point
    Wasn’t looking to sell them separately, but feel from to make me an offer and I will consider it.
  41. 1 point
    I have a Harley Benton Fretless sunburst Jazz. Silly cheap new and even better deal secondhand if you look around. Plays great, well made (neck joint is tighter than I have seen in 2k Fenders) and I think it looks superb. For the price you can use it to fend of drunken idiots on a Saturday night and not worry.
  42. 1 point
    I love songs where the bass doesn't come in straight away. Partly because I'm very lazy, but also because sometimes you have to take the bass away so that people appreciate it when it's back. S.P.
  43. 1 point
    In my opinion for a one-off, I don't know what you would gain by using machine tools. There is nothing to stop you making a template and filing the brass back to that to keep the accuracy or curved lines you are looking for. I found just using fine files and wet and paper you can get perfectly good, smooth and flowing edges. In some respects, filing the brass was easier than working with wood as the workpiece doesn't reduce in size quite so quickly...... Look forward to seeing what you do. Cheers
  44. 1 point
    Thanks buddy. It's got me thinking about exactly what else I can put underneath - SA Neurohub, Smoothound? I could end up with enough space for my B3n in place of my MS-60B at this rate
  45. 1 point
    I used the Fender Gold cables previously, tried the Platinum also but they're far too stiff! All the Fender leads have stayed in my cupboard since I got the Vox, very user friendly, I have 67 year old ears that couldn't tell you any real difference in truth, but I like the Vox the best 😎
  46. 1 point
    Thats the reason i dont have give shape in the back of the neck. I need it thick and strong.This press can deal huge damage if i aply huge force
  47. 1 point
    35mm long screw,2mm thick drill to open the hole,5mm thick of the screw
  48. 1 point
    Here is a pic from longer with the truss rod and here a maple stripe that covers the truss rod
  49. 1 point
  50. 0 points

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