TeresaFR

Echowelly.

I see drug use an awful lot, because I work in a day centre for drug users - none of whom I'd class as remotely capable of being creative when they're f***ed out of their minds, especially on that artificial opioid shit! It's impossible to creative an artistic masterpiece when your face is at risk of getting mashed into the floor and when you come around you can't remember anything from your "journey". I'm very glad to never have experimented with drugs and that I don't even like even a small amount of inebriation from drinking.

Rotorhead Actually not convinced this would have destroyed their career, probably just pushing them in a decidedly more aeronautical direction. Reckon they'd have made it work.

Kenny Doggins

I have made it to the end and I'm not even tempted. No, I've not looked at Anderton's sale just yet, but the next six hours can easily be held off for.

Dimple Minds

Mouse of Pain.

I'm curious whether there are any basses out there that combine all three of these characteristics, and not simply one or two? There are clearly a growing number of multiscale headess basses, but I've never heard of any that were also neck-thru - maybe there's a technical limitation that would prevent such a construction method? So, I thought I'd ask all of you; does such a bass exist, and if not, is there a scientific reason why not? Thank you.

The Detroit Skinners.

Well, it wasn't last night, but on the 30th November. We, Verdant Rupture, did alright on our debut gig. Went rather askew in the last song (the one about the lesbian suicide polycule*) and needs some drum reworking to fix the issues. Playing the song written in Sheffield General Cemetery, that's about the SGC, in the SGC was a thing of beauty. I'd post the link to the livestream, but the sound on that was very not good because no one was monitoring it, unlike in the room and on stage - both of which were decent. *Keira and I choose interesting subject matter.

Still in, baby and not going out this year!

Maybe, maybe. Surely I'm not the only one though - the one and only.

I think I'm going to make it through the whole year! Wow!

Two, first off a BC Rich Warlock (Platinum series) and secondly, a Crafter electro-acoustic. The headstock dive of the Warlock was absolutely detrimental to my ability to play (I was pretty rubbish back then so any loss of capability was very much felt), and the Crafter, well, it turns out the chunky bodies of acoustics don't suit me, and neither do phosphor bronze strings. 2008 was a bad year for me, bass purchase-wise.

Fields of the Nephilim in Manchester on the 26th (October, that is). Met up with my own band's singer whilst there, when the mosh pit started up, she went towards it, and I backed away. I am not into that kind of thing.

The Wu-Wang Clan.

Yes indeed. I don't think they ever stopped (pandemic notwithstanding).

Inkubus Sukkubus at the Hallamshire Hotel in Sheffield on Saturday.

Soul II Soil

The O'Kays. The Brotherhood of Dan. Go Pest. The Wee Gees.

I bet that AT-AT stomps *hard* live!

Detained Under The Mental Health Act Clown Posse Professor Dre The Notorious C.H.O.N.K.I.E B.O.I

Lady DSM-V Diagnosis Huel and Oats Roy Orbigrandson Heaven 70

Rotosound Jazz 77 flats are 45/65/85/105/130 for the five string set - I understand you find the Ernie Ball cobalt flats to have greater output, but it sounds like the gauge variation would be a plus point for the Rotos.

I will say, the only time notation would have truly helped me was when I was in a band with a classically trained folk violinist. I think for some genres notation would help more than for others (jazz, for instance). At any rate, it wouldn't hurt to know it, just don't make it your first priority - learning the notes and tuning up must be your first priority once you've decided to actually give bass a go and have (legally) acquired one.