tauzero

No I haven't. If the bit on the strap turned a bit when I put it on, I knew the nut was a little loose so tightened it with my fingers, then tightened it up properly when I got home. It wasn't a regular maintenance job.

With all the references to "Toon wood", is the advert author an expat Geordie?

It's not a significant problem, and you snipped the bit where I mentioned the solution. And I have never wanted Dunlops, they look far too prone to failure whereas Schallers cradle the strap peg. And I've never had to lube the Schallers in 34 years.

The Boston variant of Schaller: https://www.amazon.co.uk/Boston-Guitar-Strap-Locks-Chrome/dp/B0013NDUP0/?_encoding=UTF8&ref_=nav_ya_signin& Double nut, separate peg and screw. The real improved version of the original Schaller.

The original design from the 1980s that got replaced in about 2015? Never had a problem with them, I would say that the replacement is flawed. I've had Schallers on basses and guitars since first encountering them in 1987 on my Warwick Thumb. The nuts holding the straplocks to the strap occasionally worked loose. There was a Schaller-compatible (by Boston, I think) which eliminated this problem simply by having two nuts, so you locked the first one by tightening the second one onto it. The knurled knob (which you tighten by sticking an allen key through the hole) and grub screw on the new Schallers does mean they won't work loose as easily as the old ones, but the double nut solution is less elaborate and easier to use. I had problems with the strap pegs for the S-Lock as my decent metric hex keys span in a couple of them - see https://www.basschat.co.uk/topic/439875-schaller-s-locks-a-disappointment/?tab=comments#comment-4265610

I fancy doing a prog version of it. 4h 33m, it'll be called.

I thought you generally went for the double tap.

They realised it was a fretless straight away? Took my band a year.

I thought I'd make my maiden post in this topic, seeing as things have gone a bit wide.

If you can't nail a song after zero listens by looking at the guitarist's fingers, then an open mic house band bassist's job isn't for you. Try something easy, like juggling chainsaws.

It was tricky, but I got "Waterfront" after one listen. May have needed two for "Purple Rain".

It was me who mentioned it before. I did play a 4-string but that was a lot of years ago and I've been a 5-string player for a while now, but my 5-string has a very playable neck - not quite the best I've played, but good.

Variax.

I think your cab might be the issue, as it's tweeterless and retro sounding. The Super Compact or Super Midget might be a better bet. If you still want to look at amps, there's a Tecamp Puma 900 in the For Sale section at the moment which would give you a good clean sound (not mine, but I do have one).

And I've just realised who the OP was, and I sold my PK-5a pedals to the bass player who was the one who succeeded me in the band.

The McMillen 12-step - unless you make one of your own using buttons and a decoder, which you wouldn't be able to get much smaller than the 12-step as you've got to avoid pressing two buttons/keys at the same time. You can program it to play chords as well as single notes, which is handy.

The Singing Defectives The Umpire Strikes Back Back to the Futile The Decade that Dies Hard

Natural for me.

I knew this reminded me of something. The bottle of milk and the sandwiches in the fridge when Tom Cruise has his eyes swapped in "Minority Report".

I know that I can find the white extensions when I pack up. I also tuck them away behind my amp so they're not that visible. I can also write on them with non-special permanent marker to identify them. The big reel extension cable is black.

I've got orange for XLR to TRS (Behringer mixer to previous active speakers) and green for TRS to XLR (monitor out to active monitor). And incidentally, I always finds it helps to remember that the pins point the way that the signal's going. And as I want a slightly shorter mic lead, I'm going purple this time.

There's four or five songs in our set that I possess and voluntarily listen to. The rest I'm indifferent to in listening terms. However, I do enjoy playing most of them, and the ones I'm not keen on still get the audience up and dancing, and that's enjoyable too. There is one red, red line though. Early UB40 - fine. The later utter dross - no way.

Their version of "Africa" by Toto is brilliant.

I separated from one band (band A) recently. The guitarist/vocalist hadn't got his own PA and I supplied it. I'd got two, one a pair of Behringer B210Ds and the other a pair of RCF ART 710s. I used the Behringers at a gig with another band (band B) and they started playing up. I'd forgotten about that as it had been so long since the last gig, and then a gig came up with band A at a venue I didn't really want to play at due to the load in and out and my deteriorating back, and definitely didn't want to take the RCFs to as light though they are, they're still rather heavy for me now. So I told guitarist that the PA was blown up and I wouldn't be replacing it (this was two or three weeks before the gig, not completely last minute). At that point, he decided that the way I was playing didn't suit what he wanted played and thought it was best if we split up. Well, we'd had some good times but I was a bit fed up of being sole sound man so I agreed. Amicable split. However, on the original subject, all my leads have velcro ties so I know which are mine, and the rest of the band know which theirs are, so there's never any problem on that front. It's pretty minimal for me anyway - one jack-jack cabletied to a 9V power lead to run from the amp to whatever pedalboard I have (meaning that the power adaptor is plugged in next to the amp rather than on stage), one XLR for the mic, one XLR-jack to run from the PA (percussionist supplies that) to the monitor that I supply, two mains leads (lights and amp).

Just getting round to doing some patches on the B3n and revisited this thread. One observation I'll make on questions from a few months ago - it's quite possible that the B3n and B1-4 have the same chipset but the B1-4 has been downgraded somewhat in its capability. Using the same chipset gives Zoom advantages in volume purchasing, and having the B1-4 not quite as capable as the B3n gives the B1-4 buyer a possible upgrade path that allows them to remain with Zoom.