NancyJohnson

I've read this a couple of times now and it still isn't making any sense. I'm assuming that you're saying there's two schools of thought; #1 the nut slots need to be cut in the centre of each string diameter (and equidistant) and #2 the slots need to be cut to accommodate even gap spacing between the strings themselves? If you look at this image (first one I found), the gaps between the strings look fairly even: ...let's do this metrically and try to keep it simple. Assume the equivalent string gauges for a 5-string set are 40/60/80/100/125 inches - so roughly 1.0/1.5/2.0/2.5/3.0 mm, the 3.0mm B-string would have a 1.5mm radial overhang from the centre point. Assuming you wanted the strings to have equal gaps (let's assume a 1cm gap), the math would point to the nut slots moving .25mm less per string from B-G. So you'd have the B-string slot, the B-E distance would be 11.25mm, E-A 11mm, A-D 10.75mm, the D-G 10.5mm. Visually, different string gauges (going back to imperial here) for any of the strings within the set would be fairly indistinguishable; for example an extra light E might be 0.090" up to 0.110"), but I doubt whether we'd really perceive a .020" difference if we were using a balanced set of strings (ie 30/50/70/90 against a 40/6/80/100 set or .050 to .110s) To be honest I've never really thought about this; we should be playing more and not worrying too much about stuff like this!

I haven't been to Reading for maybe 20 years. Purgatory. Most of these festivals are like a three/four day live version of ...Later. Much better to see a band you actually like in a sweaty little club rather than stand in a field and suffer 150 that you can't bear. Back on OP; Bring Me The Horizon. Not really my thing although I'm more than familiar with the genre. I did tune in for about ten minutes. The live show looked great (obviously lots of £££ spent on the stage) and the band were decent enough. I just couldn't bear the vocals. It just seems so passé swearing every five seconds as well; it's just not shocking any more.

I remember when Slade used these, so I do have a soft spot for them. Aren't purchases like this all about the chase and haggle? If he's come down £100, offer him £525 and walk away. Inevitably they'll come down again, then meet them halfway. There are some ridiculous prices out there for 100% original ones. Just stress it'll need refinishing etc. and look at it from the project perspective.

Secondhand or Harley Benton. Update what you don't like but don't expect any great return when you decide to sell it on.

I stopped for a while about 25 years ago, just got tired and dispondent with the whole nonsense of trying to write, create and do band stuff. There was one key moment where I questioned why I was bothering with it all; had a fire sale but hung onto an old Precision bass just in case. I came back slowly. 2000/2001. A neighbour knew a (very good) drummer who had a lovely home studio, so we had a chat, I bought a Bass POD and we we just jammed at his place with everyone on headphones.

We're all wired differently, but sometimes GAS is so immediate those seven steps go out of the window. A few years back I wandered into WH Smith in Reading and by chance saw Jeff Ament on the cover of Bass Player holding his signature model. It was like someone threw a switch. In seconds I knew that my (eight or nine) Gibson Thunderbirds were toast and so last year and that Lulls were the way forward. In seconds. Logistics aside (build time/delivery) I think within 24 hours my order was in and I'd listed several 'birds here for sale.

I honestly couldn't bear being in a covers-only band, my old lot did Hellraiser once and while that was fun, once was enough. Dunno, it just seems that people get to a certain age the creativity just goes out of them and they just want to take the easy route.

I've pretty much always played with a pick, for me it's more of an attack and speed thing. You can woolly things up and sound more like a finger player easily enough. Felt picks anyone? Failing that, adjusting the tone controls post bass; personally I'd just leave everything open on the bass and alter things via the amp or any pre-processing.

Just as an addendum to this, production of the Jonas Hellborg design strings moved to a different maker, Dogal, who are based and manufacturing in Venice. I'm uncertain of the price... it's probably likely that I'll be in Venice again at some point, might swing by. https://www.dogalstrings.it/en/perfect-pitch

That needs more knobs.

I wouldn't see why not so long as you find a decent colour match. I'm not sure if the base water colour coat would darken/lighten when you apply clear varnish. Test on a piece of wood first or inside the control cavity if there's bare wood in there. End of the day, if you varnish something (like a table), you're always going to sand back between coats and any sandpaper damage disappears on the next coat.

I've got a red flamed Euro LT4 too, Barts and Darkglass circuit. I think one of the selling points is that it's got a chambered body so it's a bit lighter. I like it, but I don't use it at all. If you're interested check the for sale ads. Hard case! Drop-D tuner! Dunlop Straploks! Minty fresh! What what!

I remember recent discussions about shielding control cavities with copper tape. The 'genuine' stuff was something like £20.00 a roll or something, whereas the the same product was also available as slug tape for £3.99 a roll (the same stuff you can put round flower pots to keep slugs off your strawberries). People were literally trying to justify spending more because the slug tape 'doesn't work'. (My father worked in research at the Physics department a Holloway University, Surrey for over 40 years; he was an off the scale boffin. His opinion on the slug tape was of course it would work, why wouldn't it? You're just shielding the cavity from exterior interference - dimmers, microwave cookers etc. - and trying to stop that from bleeding into the circuitry and pushing it out to the amp.)

Brother Toboggan. We thought that was hilarious.

Someone might find this interesting. Nancy Johnson. Came from a photograph by Gregory Crewdson. The name was on a little pile of prescription canisters. The Irvines Are Back. On the Kongfrontation ride at Universal, there was a wall with a load of graffiti on it (I think Universal encouraged visitors to add their own). About ten feet above the general stuff someone had written The Irvines Are Back. The Dags. School band, late 70s Guitarist was watching documentary on Aussie sheep farming. Pre-shearing, guy de-dags the sheep by running the clippers round the animals rear end. Last Three Standing. We were originally a five piece punky band. Two left. Oh, there's been tons of others. 96 Decibels (from a Mott the Hoople song). The Skirts. Individual Cheese Portions. Punctual If Nothing Else. Another band late addition to a bill, same name. Somewhere in Basingstoke. We got there early, soundchecked and one of the staff said we were terrible, but punctual if nothing else.

I'm not certain how big the area is, but using several coats of nail varnish would also be a good call. Just build up coats, rub back, repeat. Given the amount of colour choice and finishes out there (gloss/matte), I wouldn't think it would be too difficult to get a decent colour/finish match. As mentioned above, straight PVA will always have a sticky/rubbery feel to it; it might be different if you make up a paste of glue and wood dust, but it isn't suitable for filling any surface areas. It is after all primarily a wood glue or used for sealing walls for plaster.

Sugar - Copper Blue (deluxe)

When I left my junior school, I used to have to take a bus to school. Fare was 4p each way. With a pocket of change and we'd hit up the sweet shop at 8.00am, buy two Mars bars for 8p and start walking.

Are you using the active circuit? Fully charged?

I'd never really given much thought to the actual value of money if you factor in inflation, something else to keep me awake at night I suppose. Thing is, unless you took the risk and either invested in* something that is now magically worth a fortune, you're always sliding in the wrong direction. (*Didn't someone sell his 10% in Apple for $800 about 30 years ago?). Fender Precision basses aren't the way to make a fortune. The only way to make a decent investment return is to go into retail, but you're reliant on there being a ready market for what you're selling I'm sure the more specialist guitar retailers would says it's hard work and a struggle.

I'd be incredibly cautious about buying instruments as an investment, certainly where the instrument is mass produced. I'm not currently on the market for something I can flip for profit, but I do have c.£30k in premium bonds that my wife has said I can draw from if something came up. I follow Hamer... specifically three digit serial# Standards. Gibson. Hmm. I nearly pulled the trigger on a Gibson Theodore (could have almost doubled my investment in under a year), missed the Slash 4 Les Paul. Suspect that if the Gibson Kirk Hammett Flying V happens - and it's a limited one - I'll buy one (or two) of those and just stick it/them under the bed.

Blimey. I have one six string guitar hanging on the wall in the room I record in, my basses stay in their cases. It's only there because floorspace is limited. Again, I'll refer to a friend who has this gallery of guitars hanging in his front room. They never get played, they're just hanging there, unplayed, covered in dust and other grime. There's an Ace Freshly Budokan Les Paul (£8-10k), an EVH Masterbuilt Frankenstein (£15-20k), a Wolfgang (£3k). It makes me want to cry.

It's quite brilliant, eh?