tauzero

Everybody's got to start somewhere...

Sei Flamboyant 5 unlined headless fretless with a shallow lightweight body and Roland hex pickup built in (would be nice if Roland did pickups for specific numbers of strings). Although, as the idea of a signature model is that it sells loads, it would probably be more sensible to go for a Status Stealth to a roughly similar spec, as they should be able to turn out basses quicker than Martin Peterson.

There's another alternative - two feet at the front and one foot in the centre at the rear. Triangles are stable (hence three-legged milking stools).

Three to point out that the extended range light bulb isn't just about the infra-red.

And too many headstocks.

Six to debate whether a knowledge of electrical theory would enhance one's ability to change the bulb.

I started on guitar, and still play a bit. I think I'd keep with my original path, guitar then bass, but not taken the odd year of three out here and there, and been a bit more positive about switching to bass - I still nursed ambitions of being a guitar hero, and it took me a little while to start acknowledging to myself that I wasn't actually that good.

Line 6 aren't exactly bending over backwards to provide information, are they?

Jobcentre. Or behind the counter at McDonalds.

I read that second sentence and thought "no, you don't chill port, that's just white wine". Oh dear.

Same here, and a Fender Precision, and then find a convenient cellar and lock them all up there forever.

Tecamp Puma 900 is also worth looking at if you can find one second-hand.

Which is why I didn't protest. At all. If we finish up doing more sophisticated gigs than pubs with an audience literally at arm's length then I'll suggest using my gear again.

I found SRM450s made a quite reasonable noise but I had terrible reliability problems with mine. Sold them and bought RCF ART 732s (I think) instead. For some reason, my main band are using the percussionist's Peavey mixer/amp and Behringer passive speakers instead.

How well does that work over wireless?

My main calling is rock, across a fairly broad spectrum. However, I've done quite a few years in a ceilidh band (I still do a barn dance once a year with an ever-varying scratch band which I just turn up and play with), and my current main band is a rather eclectic covers band doing a wide variety of 80s (new romantic, punk, ska, reggae) which not only would I normally play, I wouldn't normally listen to it either. It's fun and we entertain - it's always nice to see a positive reaction.

I wonder how much denser than an untreated hardwood like maple that would be.

Eee, us old ones had it bad.

Nice bass though.

Wouldn't an active crossover do the job that Al needs? Something like https://www.thomann.de/gb/behringer_cx3400_super_x_pro_v2.htm for example, seeing as it's working at line-level not speaker-level voltages.

Won't the increase in cost due to running a kiln be at least partly offset by the reduction in warehousing costs, as it doesn't need to be stored as long to mature?

No. One band is vocals only in the PA, the other is vocals, keys, and percussion (cajon and bongoes). I supply the PA (RCF 732s IIRC) for the first band, which gigs about three times a year, the percussionist supplies it for the other band, which plays in pubs 20+ times a year. There doesn't seem any need for the additional hassle and weight to lug around.

Permanent compressor, chorus, and amp sim. I want to get a decent octave up sorted out which I have on the switch. I did have a second patch set up which was identical but with slow attack set up on the switch.

I've been playing sitting down for 15 years or so, on a Kinsman KGS stool and the Harley Benton clone of it. Better than not playing, and haven't had any comments about it.

I'd be interested in a cover too. Kit arrived a couple of days ago but I'm not sure when I'll get a round tuit - hopefully I can make a start this weekend.