nilebodgers

Yes, on my Jazz in those gauges. (Tension feels the same as 45-105 roundwounds) I really like them for the mellower stuff I mostly play nowadays.

I grew up in South Durham and went to uni in Newcastle. I remember being on the bus once in town and I heard some old people speaking what I thought was German. It turned out to be English, but the thickest Geordie accent imaginable. I had a great time there. A lovely city.

I can’t remember what the actual settings were, but I checked my MB500 with REW and it could definitely be set flat with the 4 band eq and the contour control all the way off. Setting all the eq pots to noon does give a pre-shape as that isn’t the 0- point, but there isn’t any other “hidden” shaping in the system.

Good cable lasts effectively forever. I have a Klotz cable with Neutrik jacks that is over 30 years old. My other Van Damme + Neutrik cables are over 20 years old. If they don’t get mechanically damaged I expect them to see me out.

Awesome set list, looks like a complete hoot.

That is hilarious. I got “Ammonia Welder Boys” within seconds which is a name that just has to have a band attached.

Nice tone and playing. Very good!

Dunlops. I used to use Schaller, but the fixed screw in the new design makes them useless. I tried the rubber washer idea briefly, but they would split.

The Crimson Guitars fret erasers are really good. I have the set of 4, but I have only really needed the fine and super-fine. I’d steer clear of steel wool, the tiny metal particles go everywhere and can embed themselves in an open-pored fingerboard.

That is fab. I love the fact that she plays the flute parts too, super talented.

I had one bass for many years. Then I joined some bass forums and now I have 3 (very moderate for Basschat I know). The reality is I play my USA Fender Jazz almost exclusively and the other 2 sit in cases and only come out occasionally.

When I was working in production I hired lots of freelance sound engineers to do corporate gigs. The best came from musical theatre and church backgrounds, the worst came from band backgrounds. We never hired ones that came from dance music backgrounds. The very worst thing was when we had installed a killer system that one of our system engineers had tweaked to perfection, then a band engineer came in and made it sound like an over-loud muddy mess. We just had to grin and bear it, the (name) bands contracts always gave them full control so we couldn’t intervene.

I have always used the mini wire cutters that are part of my electronics kit. I always found nail clippers to be too flexible and blunt to really do a clean job. The wire cutters leave a clean edge so I never need to file. Oddly enough, I had my first ever podiatrist visit a couple of weeks back to look at a corn problem I am having and he used what looked exactly like a stainless-steel version of my mini wire cutters.

To revive an old thread, I’m surprised no-one mentioned the Specials: I’ve been messing about with this and it’s a great exercise in stamina at the original 161bpm.

Watching with interest, I’ve got a too-big router too.

There are a whole lot of circuit boards and loads of interconnect in there, that’s never going to be cheap to build outside the Far East.

Outstanding cakeage!

In the output description it says “The output stage is a full bridge topology with a 2nd order filter.”. That says it all, neither side of the speaker connection is a ground, both are signal (in antiphase).

The 700AS1 is internally bridged according to the data sheet. It just isn’t explicitly split into stereo channels like the 125asx etc. (see https://doc.soundimports.nl/pdf/brands/ICEpower/700AS1/ICEpower700AS1_Datasheet_1_8.pdf page 22)

The info I could find for those Connex modules was sketchy in the extreme, so no idea on the topology. Are they not already bridged internally like the Icepower 200/500/800w modules that almost everyone uses?

It’s just clueless nonsense. Any tech worth their salt would have a high-pass filter and a compressor/limiter on those channels to protect the system if they were concerned about what might be sent.

Absolutely not, no chance of my good basses being lent to anyone. I’d lend a beater/cheapy to a friend though, no problem.

I went from a MIM Standard Jazz to a MIA Professional Jazz (v1) and I don’t reckon there is much of a difference in sound. The MIA jazz does feel much nicer to play and of generally higher quality. I couldn’t have justified it buying new, but s/h wasn’t so bad and it was worth it to me. I will probably keep the MIA instrument for the rest of my playing life and never feel tempted to upgrade.

This exactly. I can’t stand either solo bass or bass solos. I am also a sucker for a catchy pop tune. Bonus if it has a good grooving bass part.

This. In pro PA world switched mics are tucked away in techs toolboxes. If it goes up on a stand you can guarantee that the "talent" will switch the mic off before attempting to sing or speak into it...