tauzero

The Megatar is an instrument with a purpose. Must start learning how to play mine. The 15-string is potentially useful but would need thinking about the tuning - bottom 8 strings the same as a 6-string but extended by one string in either direction (low F#, top F), and the top 7 strings as a 7-string guitar.

Can't stand Osibisa but the album covers are great.

Condition: Opened - Never used Hmmmmm.

I'm rather tempted by a doubleneck, but I'm put off by their description of the neck profile as "round D" which seems to mean fat Fender, or possibly fat Warwick, and it's a lot to pay to find that it's not you want.

Intact, fortunately.

They took great care of the 5-string Thumb sent to me from Italy, taking it back off the van, putting it on the next day's van, taking it back off, losing it, finding it, and letting me do the 50 mile round trip to pick it up from their depot as I no longer trusted them to put it on the van at their depot, drive it to my house, and deliver it. But most of us have bad experience of one courier or another, and that's the only bad DPD experience I've had.

Apart from being fugly, headstocks wreck the balance of basses. Warwick really missed a trick not making the Thumb headless as they planned at one point. Still, each to their own, and you have my sympathy.

I played in a club band with a Black Country vocalist. She used to introduce it as "Youm sex am on foyir".

One swallow doesn't make a relationship.

I mostly do, but I have put in a preemptive veto on "Red red whine". We do some early UB40 stuff though, from when they were good.

It's one of the great examples of the Dunning-Kruger effect at work, generally amplified by alcohol.

I can't remember what I quoted to her, but "Daydream believer" popped into my head while I was writing that post.

I can do backing vocals to some songs but on others I can never find the right pitch. I just establish what I can sing to and shut up for the rest. The club band that I played with for some years had a singer who was a right p!sshead. He would randomly swap verses and choruses, and start vocals seven bars into a 12 bar solo. The guitarist and I would just exchange glances and we (and the drummer) would follow. We kept getting gigs though. He used to ask if anyone in the audience would like to sing a song and then we'd be expected to play whatever the random drunk who wanted to sing fancied singing. Mrs Zero had a problem with some of my songs, where the vocals start before the one (ie. at the end of the preceding bar), insisting that nobody else did that. Examples aren't hard to find though, and she eventually got it. Tambourines - rule 1 is never leave a tambourine within reach of the audience. It's amazing how they can be heard over PA and backline, generally out of time. Just get rid of the sodding things.

You're TimR's alter ego, aren't you? https://www.google.com/search?q=professional&oq=prof&aqs=chrome.0.69i59j69i57j0i131i433j69i60l2.2462j1j7&sourceid=chrome-mobile&ie=UTF-8

So you haven't looked up the definition, or you don't understand it. What a waste of space you are. Clue: it's when it's your main occupation and you get paid for it. Do you understand "main"?

I suggest that you look up the definitions of "professional", "main", and "occupation" because you're hoist by your own petard.

I'm surprised that there's all this fuss anyway, since the clap became a unit of currency a year or so ago. The number of rounds of applause you get should provide an excellent income, at the rate of exchange of one round of applause per 1% of a nurse's pay.

Perhaps you should work out what you're trying to say as it gets less clear by the minute. You said that amateur musicians start out not getting paid. I am and was an amateur musician who started out getting paid. Have you ever played with a band in public?

I got paid for the first gig I played as a bassist (mix of covers and originals), not for the second (different band, originals), and from the third gig on (another band, covers) it's been mainly paid. You know not of what you speak.

I think I'm worth £10,000 per gig. But when I ask for it, for some reason I don't get it. As you're an expert, perhaps you could tell me where I'm going wrong.

I've got a Line 6 G50 on the pedalboard that is rarely deployed and a Smoothhound which I use for most gigs (different bands). I also recently picked up a cheap bug type from Ebay - Muslady WP-1 which is a 2.4GHz unit. G50 - solid build, works well. Did have dropouts but that was when running it at low output. Smoothhound - no complaints except the annoying reversed polarity of the power supply. Muslady - seems to work OK. Got it for home and rehearsals so I didn't have a lead trailing around. Flimsy casing. I have yet to do a proper A-B test to check sound quality and latency.

Just catching up, and viewing this on a phone, I thought the bit on the right was a Teddy bear with the top of its head cut off and its brains scooped out. Hoping to make this bash, I'll sort out things to bring when I'm back home in a week.

Can't remember the details but I used an LED strip from Ebay (IIRC the devices were 5050) that included a power supply and remote control. I used small cable ties to hold it in place behind the grill. See

The Danny Steel Orchestra.

I happened to see an item in the Line 6 forums which mentioned a change to the MIDI CC messages in v3.10 of the Helix software which is relevant to the various DIY switches that we've got. There is now a dedicated preset up/down CC message, so rather than changing mode, sending a FS1/FS2 message, then changing mode again, you can just send CC 72 with the value 64-127 to increment (preset up) and 0-63 to decrement (preset down). Less messing around and will speed things up a little as there's no need to put in delays after changing mode (that's a whole 200mS it'll save in my switcher).