chriswareham

Hi Alex, what's this I hear about you making a cab with an 18" speaker in it? If it's true I might have to place my wallet under lock and key :-) I love the middly "thunk" I get from an 18" and would love to hear what you can do with a speaker that diameter.

Let's see: cat scratched SWR cabs with battered Acoustic head that's wider than the cabs, dog chewed Vox cabs with non-matching grille cloth and a tatty Sound City head that's also wider than the cabs. Then there's the Ampeg fridge with half thextolex missing. I think it's fair to say aesthetics aren't important to me when it comes to backline!

Uploading at unsociable times of the day can help. Many broadband packages offer only a theoretical maximum download and upload rate - the contention is the important thing,as you are usually sharing a fixed capacity with other users in your immediate vicinity. At busy times of day, you can struggle to get anywhere near the rates you might expect.

Before Peter Hook started doing his current band I did toy with the idea of putting together a Joy Division tribute. The experience of doing the Cure tribute put me off though - it was an interesting technical exercise to play not only the songs of someone else but using the same technique, but very unsatisfying. I felt I had to be so aware of not only what I was playing, but how I was playing it, that it made me anxious. Probably something made worse by my Asperger's, but it does make me wonder how much people do the tribute thing for the enjoyment or just purely because it at least pays for itself.

Brilliant! SXSW sounds like the festivals in Germany, Wave Gothik Treffen in particular. Takes over the whle city with many venues and a huge line up. Always makes me laugh when people bang on about Glastonbury, which is an exercise in hubris and masochism by comparison.

I did a Cure tribute briefly. Gigs were via an agency and seemed well paid (not sure how well but as a first timer my cut was decent and I'm sure the main guy got more). I noticed that the venues we played only had tribute bands doing live music, with no support acts, and were often civic kinds of places that were either fully or partially seated and otherwise hosted plays or comedians. Ticket prices ranged from £15 to £30, which seemed quite high for a tribute to a band that still play albeit irregularly and can probably be seen for £20 to £30.

Male: David Eugene Edwards of 16 Horsepower and Wovenhand, Ian Curtis, Marc Almond, Carl McCoy Female: Skin of Skunk Anansie, Diamanda Galas, the lead singer from The Savages.

Check out the eBay Weird and Wonderful forum on Basschat, as someone has posted about a Gumtree advert for several sets of unused late 1960s Fender strings. They'll be as dull as watching golf[*] since they will be well oxidised by now, and the seller wants £250 for them! [*] sorry, personal prejudice

I was going to suggest that EB-2 copy was a Shaftesbury until I read the description, since I'm sure I've seen a Rose Morris catalogue with both Gibson and Rick inspired semi-acoustic basses. Could be the output of the same factory I guess. As to the silly claim of some kind of racial slur in this threads name, how long has Jazzyvee been a member of Basschat (a considerable while it seems) so why raise this now? If you've read this thread in any depth, then it's clear we love the "Japcrap" it's named for and it is an ironic, possibly even self-deprecating title. For the record, I work for a Japanese firm and most of my colleagues are either Japanese, Indian or Thai. I've been on the receiving end of racial abuse for my own complicated ethnic background, and I'm pretty sure this thread would not offend a Japanese person.

Martin is making a new scratch plate and truss rod cover for my latest acquisition, and being an Enfield denizen I was quite taken by the brand name for some of his guitars. Glad my GAS is in check at the moment!

Wow Karlfer, that's a great looking faker! The bridge is a great compromise between that of the original, er, inspiration and something a lot more practical. Same kind of shape but no chance of tail lift :-)

Greco Rickenfaker for me, the neck through one which I think was a Matsumoku built one rather than the bolt on model that was also sold under the Greco brand. Probably on the heavy side for many people, but fine for me. Perfectly balanced and superb action, with the Rick clank and growl.

Lord Lucan? Shergar? Godot? Zig and/or Zag? Is Vic there?

I'm after some monkey sp**k for a moped I bought of a guy called Mickey. Any ideas where I can get some? http://viz.co.uk/mickeys-monkey-sp**k-moped/

Not so much skip finds, but junk or charity shop bargains pre eBay: Oberheim DX drum machine (with crudely fitted trigger inputs) Crumar Performer string synth (my first stringer, I've since owned about ten different models) Simms Watts AP 100 valve head

Killing Joke have - several times! Skinny Puppy have made several albums since reformong that rank with their best, and more obscurely a band called 1919 reformed after almost thirty years and put out a brilliant album last year.

Some great ones already mentioned such as The Passions, Furniture and Department S Zodiac Mindwarp still gigs, occasionally with Alex James on bass! My suggestions are: Moonchild - Fields of the Nephilim Me and my Beretta - Angel Corpus Christi Is This The Life - The Cardiacs

[quote name='FinnDave' timestamp='1457808239' post='3002010'] Paljon kiitoksia [/quote] Ei ongelma.

The stand has now gone.

The EB3 copy stuff has now gone.

Onnea FinnDave!

Certainly beats my only other skip find - a 2x12 sealed guitar cab. Unbranded cabinet, but the speakers were 70s vintage Celestions. By the way Finndave, on your plectrum playing issue, I grip my picks between the tip of my thumb and the side of the first joint of my index finger. My remaining fingers are loosely straight rather than clenched. I use narrow "teardrop" shaped picks that I think are primarily intended for steel strung acoustic guitars. I don't find I need to exert much pressure from my thumb and don't get cramp even playing for hours on end.

So I've just moved house and had a load of stuff to take to the council recycling centre. Sitting on top of the skip containing electrical items is a familiar green carpet covered box - a Trace Elliot combo. I remark to one of the staff that it's a shame the former owner didn't have it repaired and sell it on or at least given it away. So he asks me if I want it. I say why not, and he clambers in to get it for me. One electrical inspection later - all of £17 - and it turns out it's not even broken, so I now own a BLX 80! Sounds a bit muffled at low volume, but cranked up it sounds great.

Looks like the Kandarian book of the dead in bass guitar form.

[quote name='neepheid' timestamp='1457226611' post='2996595'] Two point bridge and solid headstock points to 1972 or early 1973. Enjoy [/quote] That was my conclusion as well. The seller said he thought it may be from 1970, and one online serial number suggested that year as well. However, they were only built with "slot heads" like Mickeyboro's one until about 1971. Gibson used the 800000 range of serial numbers in 1969-70, and then restarted using it around 1973-74. Regardless of when it was made, it's a great instrument and I'm looking forward to trying it cranked up at the next rehearsal