Stub Mandrel

In that circumstance, I would just move everything up a fret. That's when having a mental picture of how to play various intervals can be more useful than 'knowing the fretboard'.

My hpf is 24dB/octave -3dB at 30Hz. I hear what people say about the value of getting the low harmonics, but I use a cab with a -3dB point at 35Hz and di into a PA with subs that go down to 32. I sometimes play 5 string or drop D so having a setup that can handle it, why not use it? To me the value of an hpf is losing handling noise and rumble not gaining headroom I don't need by losing the fundamental.

Played Superstition the other week and the keyboard generously let me do all the funkhy bits!

I understand that most sound engineers would use the Soundcraft 100Hz HPF on all channels except bass, kick drum and maybe keyboard. I was told that by a professional sound engineer about two weeks ago because I asked him specifically when I should use it.

New bass day.

But was there Dundee cake?

My design... 24dB / octave with the -3dB point at 30Hz. Chosen to barely affect the low B, while almost completely removing subsonic rumbles.

Fairport were pretty much 50% Dylan tribute when they started out.

Yellow works best for selling offers. Look at magazine offers, price reductions etc. Orange + monochrome was a whole theme for advertising 20 years ago (led by Orange telecom but many others followed). It's amazing how advertising does show so much 'clumping'.

I think directly in terms of moving around on the neck. E A D G C F Bb Eb Ab C# F# B . All worked out by mentally moving across the strings...

Seems I unfollowed it... but I have re-followed. Looks like it may still take a while to return though.

For some time I have noticed that certain threads disappear from my 'content you have posted in' list, rarely making a fleeting return after weeks or months, then disappearing again. Typically, it's when I see them in the 'recent activity' list that I realise there are pages of content that hasn't come up on my feed. Now it's happened to the Den of Iniquity, a disaster of immeasurable proportions! Is it possible to fix what seems to be a significant glitch, it's been happening going back at least a year.

Busy weekend coming up soon. My first two dep gigs on 26 August, then on Sunday:

(2) GAIN rotary control This is to set the gain of the input stage of the amplifier. The setting of this control is the single most important on the whole unit. There are three regions of operation of the control, which can be visually confirmed by the activity of the signal LED. (3) SIGNAL LED When the LED is green, the instrument signal is passing through the preamp without any compression. When the LED begins to flash red, more and more compression is occuring in the preamp as the GAIN control is advanced. The compressor also tracks changes made to the EQ; therefore, an increase in an EQ setting will require a decrease in the GAIN setting to maintain the same amount of compression. When the GAIN control is at maximum clockwise rotation, a musically useful overdrive distortion circuit is engaged. Reduce the VOLUME accordingly when using this setting

The Elf gain gives progressively greater compression as it is ramped. Very useful if you are pushing it close to it's limits. A quite aggressive overdrive comes in over the last smidge of adjustment, this cannot be accessed simply by digging in. This is very different from older TE amps where the recommendation is to set gain so the peak led flashes when you ay hard. But as with all TE solid state amps, use gain to get the tone/response you want and adjust master for volume.

I think he meant this Nag's Head:

About 40-50 quid all in!

Thee things seem to be silly expensive in the USA, costing more than the instruments that need them! I need one and finally got around to resin printing and painting one. The one with just the K is what I need. If anyone wants an unpainted blank, drop me a pm.

I've had to learn about 33 songs for a dep, I get a rehearsal Sunday and the first two gigs are two weeks tomorrow. So I can relate how I learned them: 1 - got song titles and keys, (and eventually any particular versions - e.g. Gary Clark Jr.'s Come Together, not the Beatles) off the band. 2 - Made sure all songs are in my ever-growing Word document that has my edited down (and often corrected) tab for every song reduced to its bare bones so most fit on one page (I'm not going for note for not accuracy for three performances). Use this process to get familiar with any 'new' songs. 3 - Make a document that lists each song and its key, with a YouTube link underneath. 4 - Learn how to play each song, with the stress on doing it right and avoiding repeating mistakes (give up and come back later rather than reinforce errors). 5 - Make a new list (got this down to two pages) with whatever mnemonic, riff, key etc. I need as a security blanket for each song. 6 - Practice songs, only looking at the mnemonic if I have to and the tab if I REALLY get stuck. Focus on the harder ones, but every so often play the whole list. For what it's worth, I find song structures are often hardest to learn at first, this is overcome by the repetition as you become more familiar with the original. Any tricky riffs/rhythms - try practising, then sleeping on it.

That's not a solder blob. Your bass has manifested the spirit of Phil Lynott. Fit a mirror pickguard immediately!

It's unfair on bar staff who have to wait while you pack up.

I have two gigs as a dep on 26 August, then a big gig for our blues band on the 27. Bank holiday I get to relax in the audience with Son of Man, Phil Campbell and Hawkwind.

Note the straight bridge. The ambition must have been achieving better intonation.