NHM

Yes, read the QAA and TEF reports by all means but take them with a pinch of salt. Having worked in higher education for 40 years, I know they only tell a small part of the overall story. The best things about being at a conservatoire will be the intensive teaching, being surrounded by the cream of teaching talent, the connections these people will help you make, and being in a broad pool of similarly-talented and aspirational young musicians. And the resources you will have at your disposal will be unparalleled. London is the best place to be, however attractive other places are. I assume you have been to the college, met some staff and current students, had a tour and passed an audition, so you will have a gut feeling to tell you if you fancy it. The key to success will be whether you find your tutors and the modules inspirational. If you do, then you will have an incredible learning journey and end up somewhere you couldn't have imagined. If you don't you can always transfer somewhere else or change tack completely. Think of it as a one year financial commitment in the first instance, and see where you are at the end of your first year.

yes, it is excellent. I've heard it is an edited down version as it was originally much longer - I'd love to see the first cut. Some amazing footage, bands and songs.

to quote Jack Dee, it's the No 2 on Boxing Day that you should worry about.

this bass doubles as a fracking device

I bought Burns-Bass's 2210, it's a cracker, sounds like thunder when you crank the amp, lovely to play too.

'Happy Ways' by Joe Walsh - must be one of the simplest ever.

That's really helpful, thanks. Funnily enough we used the asymmetric approach last night (although we called it, 'turn just that side up'), handy for a weird shaped pub in a weird shaped world. … which wouldn't have worked in Bridged mode...

Hi BCers I can't get my head around the 'stereo or bridge' switch on our PA amp. We run a stereo PA amp into two speakers, left and right, fairly standard I guess. However, everything is mixed to mono at the desk. Is there any advantage in setting the PA amp to bridged mode?

is the date correct, according to our Cairn terrier calendar 28th is a Sunday???

the Black Griffin just across the road from the Cricketers might have someone on.

really good stuff, recommended listening

some gigs I play through a Keeley Bassist - on other occasions just direct to the amp. It's how I feel on the day as to what sound I want. I like it 'on' but I like It 'off' just as much if not more, as 'off' is more versatile. It's the only pedal I use, the rest have been ditched as redundant; I'm tempted to move it on but I haven't quite got there yet. The Keeley does the job very well and adds a very musical/complementary sound if that's what you want.

just now I showed the breaking news pic to our drummer who immediately replied 'fake news'!

yup, the pick up on mine fits the same as Ikay's. No foam. all held by the pickguard. When I replaced the original pickguard which was broken around the jack socket, I added a couple of extra screws around the socket - heresy I know, but it gives the pickguard better support and doesn't look out of place.

I hadn't realised the shape changed with later models. Mine's a '71. you live and learn...

here's the link: https://www.wdmusic.co.uk/pickguards-c62/fender-basses-c111/musicmaster-bass-c149

I bought a new pickguard for my MM a few years ago - I think it was from WD, and not too pricey. If you want me to check when I get home....

First rule of interviewing, eliminate candidates who aren't appointable. So rather than compare A with B, ask the question of each 'is s/he good enough to join the band?' This will then leave you with two, one or no candidates, so you can move on to the next stage of the process.

are you willing / able to change key to get the best out of their range?

saw a thing on Anderton's about a strat with scalloped fretboard - we need them to bring out a P like that. Perhaps they will next week?

nice bass, but I was thinking of something with much higher frets, like on the sitar, so the strings are never on the board and the pitch is therefore variable depending on how hard you press down....