Maude

When it comes to stands I just go Hercules every time. Yet to have anything fall off or over yet.

One of the best voices the rock world has ever witnessed with a visceral scream that could tear plaster of the back walls of the club, wild flailing guitar chords with enough anger buried in them to start a fight at fifty paces accompanied by basslines that cut to the very bone such was the aggressive nature of the tone, all backed by a madly hammered out set of beats that were constantly on the verge of going off into a cacophony of out of time noise and yet always kept just on the right side of in time. Ah yes, The Who were definitely something special. But this new one's nice enough to have on in the background while I dunk a couple of custard cream into my milky tea.

The only reason I can see not to use laminate worktop, and it might not bother you anyway, is that the surface is harder and more slippery than a wooden surface, stuff tends to slip around a bit, piece of carpet would fix that though but it's worth bearing in mind.

If anyone's in any doubt about these PJB headphones being the same as the cheaper Edifier ones, this is the lead that came with the PJB ones that just arrived from Guitar Guitar.

I used to use an Akai Unibass in a power trio years ago. It can add an octave higher, with or without distortion and also add a harmony note to the octave up. I now realise this was a bit daft but I was in epic rock god territory when the guitarist soloed. I had a bi-amped bass rig with the lows fed to a 2x15 and the highs to a 4x12, but also had a 2x10 guitar amp in a cabinet between the two, so rack mount Peavey Max pre amp, graphic and stereo power amp on top of a 4x12 on top of a guitar amp in a cabinet on top of a 2x15, all cabinets were home built so they all matched. The Unibass would send an octave up with a 5th added to the overdriven guitar amp and the bass to the rack unit to be split between the two bass cabs. My back problems aren't from lifting all that but rather that it fused most of my vertebrae together with sheer rawk power 😁

Only just got round to looking into this again. Thanks @PaulWarning for the link, and @la bam for the advice. My unit is a Pulse one and is different to that but I have found a link to a Pulse unit with the same controls, but it still makes no sense http://www.farnell.com/datasheets/577134.pdf Through using that manual, trial and error and pure bloody luck I have found that setting switch 2 on the 'function' bank to on I can then use switches 1-9 on the 'pattern' bank for three intensities of red (1-3) green (4-6) and blue (7-9) or any mix of. That'll do for me as I only need a light wash of one colour.

Yes, no finger noise at all. They almost sound like rounds but don't have any of the clatter on an acoustic.

I would imagine if you turned a giant dish on a lathe (I assume that's the plan) then you would have to plane a flat lengthways in line with the neck in order for the strings to have a flat run. In order to have enough depth for a decent neck pocket and the a flat top for string clearance you would need to start off with a very thick slab of wood. The curve from top to bottom (as you would wear it) of a lathed dish bass body would be fine for your plan but the curve from bridge end to neck end is going to need some clever planning.

Hello all, I just picked up a cheap LED par can secondhand, sometimes I get stuck in a corner and could do with a little ambient light to see between songs, not often but it's handy to have in case. I want to run it separately from our other lights and just have a dim wash of one colour, no fading or colour changing. My question is, do all lights use the same generic settings of the dip switches on the back or do I need to find some instructions for it somewhere? This light has a bank of four switches labelled 'Function' and another bank of ten labelled 'Pattern', and two knobs labelled 'speed' and 'music'. I had a play and it doesn't make sense to me, but I have absolutely no clue about these things. Can I just set the switches so it's on a dim green every time it's switched on, or does it not work like that? Thanks in advance for any help offered. 🙂

I'm currently making a clear Plexiglass ramp for my 4005. The pickups being so far apart, one butted up to the bridge and the other touching the neck means I can't use them as an anchor point for my preferred plucking position. Also the design of Rickenbacker toaster pickups is that they are mounted on top of the surface rather than in a routed cavity so the strings clear the front of the bass by a good inch. So I'm making a clear ramp that fits from one pickup to the other and nestles against the scratchplate so it'll hopefully nearly disappear. It'll be more thumb anchor than ramp but it'll stop the weird times when I've managed to catch a finger under the string in battle as well.

Bugger, I've just bought the headphones.

That's the problem I have when a venue offers to sort accommodation for us. We sleep in cheap hotel while there's several thousand pounds worth of gear in a couple of vehicles outside. The only answer is to drive home every time.

I am actually tempted to try the Earbox at that price, but it's to fix a problem which don't actually have. Oh GAS your an evil mistress 😁

I agree with the above. I had the white nylons (50 105)on a bass for a while but took them off because of the low tension ,but I do prefer high tension so you might like them. The one thing with the higher guage is that you might have to widen the nut slots to accommodate them.

You have to sacrifice your right arm anyway if you play fingerstyle. Is @Ricky 4000biting yet 😉

You've got to admire Mr. Cleartone Clouded Mind's persistence, then again I generally produce a bog log a day and don't plan on easing up on production anytime soon so fair play to him I suppose.

I have to confess I have a blue 4003 sat in my living room right now. Our guitarist, who has more Rics than you can shake a chainsaw at, has a bass, which after playing my home set up 4005 replica, declared I should work my magic on. I'm covered in cuts and bruises from all the sharp bits and it still won't fit in the woodburner. I'm just having a cuppa and then back at her, I won't be beaten.

Even the sexiest looking bass ever produced can't make a geography teacher look cool.

I noticed that bass when played Glastonbury earlier in the year.

We grow tea down here in Cornwall too. But your point stands 🙂

Just had a quick look as I hadn't seen the newer S locks. Strings Direct do just the strap parts, £14.99 a pair.

I've found a picture but Thomann photos made it look sexier. It was a 60th anniversary edition in a natural dark wood of some sort.

And although I've no experience of that bass it looks nice and being Cort it should be good value for money and a decent playing instrument. 🙂

Your English is far better than most English people's Indian.

Wasn't there a Thomann 50th anniversary Fender P with a sexy dark brown finish? I seem to remember having lustful thoughts at the time.