Bridgehouse

We could just bridge our differences and agree to meet in the middle....

Sometimes not enough tho

Heavy bridges help with neck dive

I actually don’t know where to start with it I need to think of a simple mechanism that will allow me to get a body and neck built so it can accommodate it - but I’ve not got that far yet!

I have a tick 2 - it fits a pedaltrain Nano perfectly

I have an octave mandolin and two normal size mandolins - one was a custom made. I have probably played more mandolin on stage than bass over the years - but it can be both frustrating and delightful to play..

I have both - of space is a concern, despite looks, the vertigo fits easily in my boot crossways, the m80 doesn’t.

I expected more from this thread...

1974 “Olympic white” (once!)

Yes, cos it’s a real peach huh?

I’m just guessing but I suspect his post was in relation to “how do you clean your strings” and not your post.

I’ve come back to this after reading your thread on it - see if he did a 20 or 30 watt version I’d be all over that

Yep - I have a 210LNT. And a barefaced compact which is on here for sale but I’m thinking of keeping it and getting a valve head and having that setup for recording. I’m not saying I disagree re speaker sizes - just that the box it’s in and the quality of the components, wood etc can make a startling difference

I have an ACG flat board asymmetric neck and it is very very nice to play. I think the nut width and neck profile are key to making the radius work or not for you. I have a vintage Precision with 7.25 radius - that works beautifully too, but it’s the 44mm nut width and shallow profile that allow it to work

Wouldn’t a scrotum tattoo be difficult to read?

Isn’t this a bit..

Just IMHO of course.. but..

@Al Krow As life ain't perfect - it will always be a compromise I guess. I've played on stages so big that my 2x10 looks silly - and others where my QSCk10 has looked like someone put a house on it to block it off. Similarly, I've played gigs where the FOH system has been so good that I've been glad my monitor can't be heard out front, and others where we could have given each member of the audience a can and string to get a better feel for it.. Perhaps it's indicative of the fact my band seems to do more festivals than anything else - the stages tend to be bigger and the sound engineer/FOH a lot better organised. I played Y Not festival last year - in the bar tent during the downpours that washed it out (remember that?) It was heaving - you couldn't have fitted another fly in there - the FOH system was really really good - so good in fact that the house bass amp didn't get turned up - and it was an expensivo toob amp as well. From your list, I see no reason at all for you not to use 12's. Either 2 1x12's or 1 2x12..?

I hadn't and it was more this morning...

What do you mean by "well"? Do you mean accurately or faithfully, or do you mean efficiently? I'd say the enclosure (or lack of) is just as important as the size of the drivers...

For finishing and for detail, someone bought me one of those silly pick punches for making your own plectrums - and in the box came a rectangular 4 sided sanding block for finishing the picks off - it's absolutely brilliant for many sanding jobs!

But you said frequency response - not volume, range, distance or anything else. My headphones produce bass at 1cm from my ear that's as good as any 8x10 I've heard at 200m. Which means frequency response is irrelevant - it's about how much air movement a particular driver creates and how far certain frequencies travel in that movement.

How come my studio headphones produce some really jaw dropping bass with a 33mm driver then?