Stub Mandrel

I generally take two basses and swap over at the break. It means I have a spare and I enjoy giving different basses an outing. When I go to a jam I usually take something unusual as jams are all about fun.

The best way to learn things like shuffle and triplets is to play along to modest tempo songs with clear simple basslines and focus on getting a good groove going. Experience tells me that some people who rely solely on tab or notation have little 'feel' despite technical competence (commoner in keys players than bassists).

Just got back from another gig at the Exchange. A small pub with a difficult layout, but licslsxwho love their blues and clasdoc rock. A grand time was had by all, loads of great comments from the punters. Landlord wants us to play bluest blue next time 😁 Finally gigged my Westone Thunder 1 (thanks @stewblack ) suffice to say it lived up to its name, plays lovely stings just fall under your fingers, and sounds like a force of nature.

The real question is probably "how do people make a living playing music? " There are many ways and different skills/attributes depending on which way you go.

But then you play with your basses submerged in a vat of silicone-based gel in order to minimise any risk of harmonic content 😉

You could get a Sterling Sub. The only risk with buying a budget version is that deep down you feel it's nicer to play than the headline brand. And that is increasingly a risk these days.

He lives on my brother's shelf with his motorcycle and stunt launcher.

Sounds good, but only a quick spin.

To answer the original question literally: a paid gig.

So yours, at least, are rampant?

Two years ago it felt like every other discussion was on the merits of ramps. So... where are they now?

I saw Band of Friends get the length of their set doubled when Geno Washington was called away for a family issue. They were told a couple of songs from what would have been the end. Didn't miss a beat.

I've fitted the Warman PUP to my MB-5. Also shielded the control cavity swapped out one volume control for a 4-way switch to give bridge winding, series, parallel and neck settings. Works, but have to wait until the morning to test at volume.

Clearly a site with a deep understanding of the process:

I've ordered a Marquess 5 b-stock for £180.

'Whiter Shade Of Pale'..? Walk don't run?

Ernie Ball with gain for max volume and 'min' for, well, minimum. https://www.andertons.co.uk/guitar-dept/guitar-pedals/volume-expression-pedals/ernie-ball-mvp-6182-volume-pedal-with-gain-boost

It only takes 2 or 3 threads for the thread of a nut/screw to be stronger than the core strength of the screw. The insert length is much more to do with ensuring there is enough to grip the wood securely.

Thanks, still expensive but I have ordered one. I would rather remove the scratchplate and this will allow me to adjust with string tension on.

you can get pedals where you set the max and min levels

Do you have a link to the uk seller? (It's nearly £30 with shipping!)

Indeed. But it was reflecting on some of your thoughts that made me choose a 4R 2x12. I knew that two 2x12 8R cabs would be twice as powerful, but also that a single 8R 2x12 would be half as powerful (more or less). I had the sense to realise that if I was ever in the situation of needing two cabs then that would only be because there was a big pa which would make big backline redundant anyway. The extra headroom/power offered by 4R wasn't really needed (or so I thought) but in practice has opened the door to a greater choice of options as I can use lower power amps. I would also say speaker efficiency trumps everything. A quality speaker that has a good wide range response and is 8 to 10 dB more efficient will be louder and more flexible with more headroom than any practical increase in amp power. And probably mord reliable as you won't have to work it so hard.

Even worse? Wouldn't 250W go into the dummy load leaving a reduced 250W for the speaker!