Stub Mandrel

I always say the only praise that counts is from fellow musicians. By the same token, criticism from musicians is worth listening to. If you are going to criticise, keep it to one or two clear points. A friend asked me what I thought of his band who supported us the weekend before last. I said basically you were far too loud, especially one guitarist - I couldn't hear your bass. He said "yes, he soundchecks at sensible volume ten turns it up when we start".

Do you know any gangsters? You could shop them and get on a witness protection programme.

Don't say that in public..

Negligible differences to me.

Hard to see but they are deep brown.

My local club is the one venue where almost every band praises the sound. It is rectangular with all dimensions very different. The ceiling steps down at the far end, but is all suspended tiles that absorb sound well. This mesms there are no strong resonances. One side has several windows, but with curtains. Curtains across the patio-style door behind the band. The ends of (normally hidden) skittle runs each side create modest sound traps behind the band. The suspended floor gas heavyweight vinyl that seems to stop any booming. It sounds fairly dead with no noticeable reverb. Asudd from the curtains, none of this was deliberate, just a happy chance.

Dolls House was two-thirds empty when I played it. Had another date booked a few months later, but it had closed by then 😧

Not an Adrian Mole fan then? 😁

My worst was a blues/jazz bar. 110 mile round trip. We played to three friends, two bar staff and a couple of locals for a decent fee. They depended on students and term had ended, and live music was the chain's schtick. Worst bit... they had us booked three weekends in a row, the staff loved us and wanted us back and the deal was worth it. But... they recommended us to the chain's venue local to us. Downside access was awful so after 2 gigs we stopped going there.

It's the only downside to my AVII.

If they had little points on the tuners they wouldlook different and by echoing the geadstock 'pip' they would brjng some unity to the design.

My brother is a Gibson addict. He has had many and still has a '62 SG Junior and a LP Junior. He also delights in a few Epiphones (he loves his Firebird and Coronet), and prefers his Eastwood LP jr to the Gibson. He also a Swuir Troublemaker. Build quality is great across all of them.

But we can call her 'Box'?

You have a diddle on my Performer then. Bareroom for a credit card between stings and a lovely headstock

Secretly rebadging Epiphones perhaps?

19.5 is unusually wide at the bridge, but the nut is 37mm, so where you pluck it's 'precision comfort' with 'jazz ease' up the neck 😁

It's that notch!

Just wait until you see my Sire at the SWBB 😍

G&L by Squier 🙂

Sounds like it needed a ⅙ turn to loosen the truss rod. My Fender Performer was exactly this after not bring played since high summer. The dealer let you down.

"One man's Bongo is another man's G&L."

That colour definitely looks better on my sock.

It is (D#m technically) We've settled on Bm 😁😁😁