SpondonBassed

The 1800cc Yamaha engine that is in the Toyota Corolla T-Sport is also used in one of the Lotuses. The Elise, if I recall correctly. "The 2ZZ-GE in the Elise Elise is coming to America with Toyota's Yamaha-designed 2ZZ-GE in 2004. This is the most recent in a series of Toyota performance engines created by Yamaha. As with the earlier Yamaha-designed Toyota 4A-GE which is the basis of Formula Atlantic racing engines, the 'G' designation of the 2ZZ-GE indicates a 50 degree included valve angle, which is a geometry selected for better breathing and higher performance than the flatter combustion chamber designs which promote lower emissions at the expense of power." From Sands Mechanical Museum

It's not unusual. Most home sound system packages are let down by the speakers. Note that I did not say HiFi nor HiDef systems although sometimes improvements can be made.

Isn't the Toyota engine actually made by Yamaha?

I'd favour the notion of a separate template for your neck pocket and another for your pickups simply because it allows you to make another body with a different configuration next time. For example you might want to do a 4 or a 5 string neck. You might want J or P pickups in various combinations. It's a more flexible way of working. You just need to use the same datum points to locate template to body on every build. Oh. Before I forget. A wise man once said: "You can never have enough clamps." (Nods in Andyjr's direction)

Welcome Paul. There are many knowledgeable folk here. One who I've recently seen answer a similar type of question is @Bassassin. He'll be aware of your query now that I've invoked the site paging system by putting the ampersand in front of his screen name. Any images you can supply would help.

A Ricky puts me in mind of DeLorean. Visually impressive but I'd never own one. That is all.

I've just seen this on another design. The Stonefield Stinger.

Thank you. For posting a useable link.

Ugly? Air guitarists might disagree... As with ukuleles a decade or so ago, short scale instruments are enjoying more popularity than I've ever seen before. Innovation like this relieves the boredom if nothing else. I mean how many Fenderish designs do we actually need?

Coincidently, one of the Freesat channels had a restoration at the hands of one of the less whacky US workshops a couple of weeks ago. Motorcycles were more my thing but it is a nice car to look at, even in your handlebar mirrors.

Glad I didn't follow the link for two reasons then.

Mine's the Toneman 300. If there are valves in it I wasn't aware of them. As far as I know it's solid state throughout but with tube emulation.

Well if you're talking body parts... I freely admit that yours was far more tasteful.

I've never run my Ashdown at full volume. It's never done a gig. I might have a play with the full volume low gain approach next practice... just for a laugh.

You might not hear the beginnings of distortion from overload then. Some trials with a trusted friend observing during sound check might help. Compare notes after to see if you're letting excess top end through. I can't see it being a problem unless you inhabit the guitar zone. Just make sure you aren't adding top to compensate.

Try it and see. You will not damage your amp with a passive bass plugged into either of the inputs. Exercise caution if you want to plug an active bass into a passive input. If you start from zero output set on your bass you will spot any overload well in advance. If you're not sure, press gang some volunteers into a listening session to establish your benchmarks. My active basses are both 9V. The max output is not a great deal more than my passive basses at max. I can plug into either input (Passive or Active) with only a slight difference showing on the VU meter. I'd expect there to be more output from an 18V active output but I can't say from personal experience. May I ask what frequencies you hear best?

I think this is a cracking topic. It shows how even musos take for granted the value of the ornamental and punctual effects that can be achieved by less commonly known percussive devices. Like the tambourine, when used correctly these instruments can put a shine on a track that may not be crucial to the song but is the finishing polish never the less. Paul Simon seems to use them all.

Unless your hearing is damaged, listening is the best way. Bear in mind that eq affects output level as well as gain. I'm not sure that clipping indicators operate right across the frequency range of the instrument but my Ashdown combo's old school VU (Volume Unit) gain metering seems to detect cuts and boosts across all three eq bands on my bass.

I'm betting you've just come out from the Bad Jokes thread.

Unable to find a link to a clip in your post without going on Facebook. Sorry.

Bearing in mind that I've not got much gig mileage as a player compared to a lot of folk on here; I have never broken a string playing a guitar or bass. It is only when restringing with used strings that I have had it happen. Guitars are the worst for it. Metal fatigue is the culprit in these instances. If a string has a kink or a notch, usually at the headstock end, its life expectancy is shortened significantly. In some cases the string will not quite get to pitch as the damaged part of the string stretches to breaking point. That's when plucking the string produces a horrible sound much like a distressed cat. Eeow.

Twelve* members have checked in on the events page to say they are going, Five maybes Two have declined. *Although I'd love to go, I'm not sure yet.

Excellent! I watched the recording this morning. I was amazed by the background story to Superstition. Like the OP I wanted to find out more about the artist. Anyone who swaps between spanners and instruments so readily is cool in my book.

Bump diddy bump diddy Paradiddle paradiddle

I love a story with a good twist in it.