tauzero

That's only Tier 2, I think. Not explicitly bass gear. Like the M-Audio Keystation 49e that arrived yesterday.

Admittedly confiscation is a bit extreme (I just thought I'd use a bit of hyperbole), but some form of compulsory purchase should be possible.

You might want to look at a calendar.

As @stevie says, if you close mic it, you lose any contribution from other drivers and the port. Consider a typical pub gig - the front row of audience (so the ones who are messing up your sound to the people behind them by being big bags of water with cloth wrapped round them) are hopefully at least 2m away from your cab, so you really want to know roughly what it'll sound like to them. A mic at 2-3m distance, and absolutely consistent placement of mic and cab in the room (which ideally should have some soft furnishings) should give some decent recordings. Your idea of using a pre-recorded piece rather than playing the same thing for each cab is a very good one.

Are they actually buying them, or is that just the price that's being asked?

It's not their definition of "affordable", it's the government's - something like half a million for a London house. Plus a developer can get exemption from supplying the appropriate number of semi-affordable houses by doing a bit of fiddling - https://neweconomics.org/2022/02/how-private-developers-get-out-of-building-affordable-housing

You start by confiscating the empty homes, at least the long-term ones - https://www.bigissue.com/news/housing/how-many-empty-homes-are-there-in-the-uk/. Also remove right to buy, or completely reverse the Thatcher approach of ring-fencing the proceeds of RTB so they specifically couldn't be used to build more social housing (still partly in place) and say that any proceeds from RTB must be used to build replacement social housing, at a ratio of at least one RTB bedroom to one replacement social housing bedroom.

Is this anything to do with the angle that you're plucking the strings at? It sounds like you might be plucking towards the body of the bass (in which case the E string would get in the way as soon as you moved to the A string), rather than pretty much parallel to the face. If it's not a physical stop, I don't know - maybe spend a while just plucking on the A string until you get comfortable with it, then move to the D and G and do the same thing. It sounds a weird sort of blockage though.

Sei fretless - "the Sei fretless" Sei Flamboyant headless - "the headless Sei Flamboyant" Sei Flamboyant headed - "the headed Sei Flamboyant" (occasionally "the Sei Flamboyant 6") Dean 10-string - "the Dean 10-string" You may see a pattern emerging.

You enjoy watching adverts then? (Not applicable to BBC, but all the commercial channels...)

Spot on. Thanks, that's that sorted out then.

I recently bought a Model D secondhand (after @Quatschmacher seemed to have sold his, hence not buying his). Trying to play notes via MIDI, using a keyboard with a 5-pin MIDI output direct into the Model D, the Model D only plays a note on every second keypress - for example, if I press and release C, a C will sound and stop, then if I press C again, nothing, then if I press it again, I get C. This applies whether it's the same key or different keys - a note will only sound on every second keypress. I'm sure this must be some switch setting I have wrong. Does anyone know what is causing this odd behaviour and how to fix it?

Last night I almost got caught out. Expecting an Evri/Herpes delivery, and I got an email saying that an attempt had been made to deliver but there was no answer and provided a link button to go to the portal. I clicked on the button and Avast sounded lots of sirens and warned me off - the URL was a .ph one which I think is Phillippines. I should have spotted the dodgy email address that it came from and also hovered over the link before clicking it but I think the content distracted me, plus me asking why Mrs Zero had missed the knock on the door (I was on the way back from rehearsal at the supposed delivery time). I don't know what it was phishing for but I'm sure it would have wanted some sort of payment or bank account details. I have slapped myself on the wrist.

Ah, the "get your foot off my f*cking monitor!" pose.

There's a Stylophone Beat drum machine (or beatbox) which might have been used for some of it. There's also a Stylophone with a moderately capable synth engine (the Gen X-1).

Excellent bit of work there.

Or, even better, a headless bass of some description.

Nice bit of out of the envelope pushing the box blue sky helicopter thinking. Sorry, I've forgo9tten how managementspeak works. Cracking job there.

Singlecut GS1 for me. I rather wish I'd kept it now.

AOL.

The chorus to Fuzzbox's "International Rescue" - why were they singing about an international ice cream cornet?

It might fit into a Stagg case if there's one deep enough. https://staggmusic.com/en/products/guitars-and-basses/accessories/pedal-boards/

Not all dimmer switches are made to control LEDs, and not all LED bulbs can be controlled by dimmer switches. Plus (critically for audio) they can generate a lot of electrical noise. They work by cutting out part of the duty cycle from the mains waveform, so a leading edge dimmer doesn't let the first part of each half-cycle through, a trailing edge dimmer doesn't let the last part through. What proportion is let through determines the brightness of the light.

Depends if you're ever likely to get a narrower cab. If so, keep the Streamliner to save amp overhang. Otherwise keep the Reidmar. Full disclosure - I've never played through a Streamliner and only played through a Reidmar as part of a very hi-fi rig, which isn't exactly what you're looking for. Perhaps you should sell them both and get a Tecamp Puma 900.

Is there something unusual about the way the pickups are mounted? The Munson bespoke basses visible on their website have bog-standard J-type pickups in recesses.