tauzero

There's a book on the subject that is quite interesting: https://www.penguinrandomhouse.com/books/85560/temperament-by-stuart-isacoff/9780375703300/

So Buster Gonad was based on a real person then.

It doesn't need it every gig, perhaps every five or ten, and takes me about 30 seconds to do. I don't leave it in vehicles but venues and rehearsal rooms are not infrequently at extremes of temperature.

My beloved Sei fretless is very temperature sensitive - not just the strings, the neck moves. I carry a set of allen keys and a capo with me and adjust the truss rod when necessary (so easy on a headless, such a chore when you have a headstock). The initial attack on a string will be slightly sharp due to the greater deflection causing a higher tension in the string, but you need to ignore the brief flash into the red, the sustain period of the note is where you need to tune.

If you try https://www.instructables.com/id/How-to-Blacken-Steel-with-Motor-Oil/ then please video the process.

I was delighted when I got rid of my old Trace crap and went class D. That aside, the biggest loss near me was when Musical Exchange in Birmingham (second-hand and new) became Reverb Sounds (new, occasional second-hand thing) and then went bust. There's a few shops doing a small amount of second-hand instruments (only one which is a specifically musical shop though), and there's a couple of bass specialist shops in the UK. Plus there's a few of the larger ones, like PMT and Guitar Guitar, though they tend to stick to the unimaginative.

Not my cat, but when I had an open access cat flap, a neighbour's tom came in a few times and sprayed up the side of my Carlsbro Stingray guitar amp. So I caught the thing and took it to the vet to have its goolies cut off. Never came back after that.

I find many Bob Marley songs are improved by a spot of Marillion.

I've just bought one. It's had one gigsworth of use so far and is in the garage so won't be able to check it till tomorrow, although it sounds like you can't actually see the problem until it all falls apart.

Gimme Gimme Gimme by ABBA, approximately as reworked by Yngyngwyngy Malmsteen - I can't remember the name of the band that we nicked the version from but it was similar to that one.

I use a fretless all the time in the covers band. And in the originals band, come to that.

Just saw this: https://www.ebay.co.uk/itm/401761199360 Thought I'd mention it as Jon Shuker has often been praised here.

I don't care. As I use headless basses almost all the time, there isn't an issue with some stupid ugly heavy lump of wood at the far end of the neck, not unless I shove it into the singer's ear.

I was rather surprised that a Barefaced One10 was still on That Ebay a day after it was listed at £135 BIN, so I bought it. I was the only bidder for a Line 6 HD500 that had a start price of £50.

Ah yes, the Sei 750 by that fine Welsh bike factory, Benelli. They did a 900 too. As for the middle image, I'm not sure how you get Sei from GG. I'd have gone for some sort of horse.

Sorry, was busy the last few days. Currently sitting in A&E with Mrs Zero who has a kidney infection, so I have a few NHS minutes to fill. Lovely repair by @Andyjr1515 which has secured the top and sealed the edge of the joint. Has the poetry stopped yet?

A bit late as it was Friday night - a place called the St Bernard's Grange in Sheldon (Birmingham or Solihull, I'm not sure which as the two seem to keep trying to offload it on the other). We play a mix of mainly 80s music, with a fair bit of ska and reggae, and normally get a few dancers. This was a bit different though. Before we started, one member of the clientele had discovered that the keyboard player's mic was turned on, and started reciting "Up the junction". Mics duly turned down. Then we went on, got a little bit of a reaction, but there seemed to be some tension in the bar area. It may be that their normal means of communication is nose to nose shouting at each other with lots of prodding fingers, but to we outsiders it seemed that some big fight was going to kick off any minute. At some point in the interval, one of the chavs (apparently a female called Beth, although she seemed completely indistinguishable from the males) asked for a song - "The Wanderer". The keyboard player and I knew it, and it was simple enough for the guitarist to play along, so we did it. Then we did the rest of the second set. We decided to avoid an encore, but the barmaid signalled one more. We were about to start "Lip up fatty" when the only person who'd shown any sign of dancing, whirling around like a dervish and waving his coat like a cross between a matador and wossname in "Saturday Night Fever" to "Jean Genie", came up to the stage and yelled "No ska!" a few times, with a selection of adjectives added, so we played something else, and then set a record for the knock-down time. We're booked in again for the place but we've decided to cancel that booking once we've got paid for this one.

It's a fantastic repair - picking it up on Wednesday (hopefully). I did the original damage about 7 years ago - gig bag slipped out of my hand as I transferred it from one hand to the other, and it landed smack on that corner below the control cavity. I think moisture may have wicked in from my sweaty mitts to cause the top to bend a little.

Music shops and rehearsal studios generally have notice boards for musicians wanted/available too.

Tried it, gave up on it almost immediately.

You might even find it cheaper to have a luthier build you a replacement neck to your specification.

If you use ToneLib, the DSP load is shown in the effects list - Low EQ is 5%.

That was my logic for putting the Low EQ first in the B3n effect chain.

You could build your own...

I realise that I'm cutting at below the bottom frequency of the bass. What I wasn't sure of was whether that was the frequency at which the cut starts, or whether it was the -6dB frequency, or what, and whether any other artefacts might be introduced, so experimented to see if there was any discernible change to the sound. I know what the Thumpinator does, and that's why I thought it would be an idea to put an HPF in my effects line, and why I'd like to eventually build a Sallen-Key HPF (which would actually be two Sallen-Keys, giving 24dB/octave roll-off).