Stub Mandrel

You might not find that getting the right angle and position of the bridge with the default saddle arrangement gives you the best compromise (all strings within a few cents of spot on). Adjust it to get the best possible result, and if one or two strings are still significantly out, consider changing the slot their saddles are in. You MIGHT find that (depending on the strings you use) the best setup is with the E saddle in slot 3, A and D string saddles in the slot 2 and the G string in slot 1. You may even find another arrangement works best like this one: Personally I would angle the bridge to get the best

Then fit the castors on the side! Those Mesa castors look like bog standard off the shelf items to me, why not buy some ordinary locking castors with the same size plate (you should be able to get better quality with proper tyres and even a ball bearing hub for less than the cost of those ones!)

I would rout a groove into the back, to about 2" in from the edge then fit a cylinder jack - this would remove the risk of a protruding jack catching and splitting the body.

But excellent for smiting down ravening hordes of goblins...

Aptly named...?

R's (Try saying it...)

1/4" originally...!

I've 3D printed two castor cups with flat bottoms and three screw holes to go on top on my 1x15 to stop my TE 4x10 combo rolling around. That said I have fitted castors with two locking ones for the front pair (the non-locking ones go in the cups)

Probably @andytoad 🙂

I'm thinking of building a 4-ohm, 1x12 for dual use - as an extension (actually bypassing the internal 8" speaker) for my little orange Crush 25, but also suitable for use with something like a Trace Elliot Elf.. I'm afraid I like a somewhat bottom heavy sound... might the Beyma 212 be what I want? I've been pondering a 1x12 build for along time and been playing with Winlsd guided by multiple threads on this forum. I've found this thread particularly useful. Looking at a 60l cab ( a bit bigger than Phil's design, but bout what I want) tuned to 48hz, I get a max SPL of 120dB at 350 W (I wouldn't want to put quite that much power through it) and a single 8.2cm port gives a vmax of 17 m/s. At a realistic 25W this would give an spl of 108dB which I reckon would be enough for non-drummer situations and with a 250W amp 119dB would be enough for small gigs... So questions: 1 Do those figures seem in the right ballpark? 2 I recall from 'designing' 'hifi' cabs in the late 70s (armed with no more than library books and Radiospares recommended cabinet volume) that it was 'good thing' to make sure all the internal dimensions were different (and ideally not simple multiples of each other) to minimise extra resonances. Does this apply to basscabs in a meaningful way - I note that many combos appear to be almost cubes. 3 what do the jury say about wadding?

I sometimes worry such music places an intellectual exercise above musicality.* *Which really means some of those chords are outside my comfort zone...

We played 'I'll be there' the other day. To be fair, it's a really good bit of songwriting with some creative changes.

I remember seeing Haze in the 1980s (it was one of our Aberocsoc gigs and because I was helping run it I recorded it off the mixer 🙂 ) They made excellent use of a set of bass pedals and it was the first time I saw how it was done. While you can go really fancy I've always fancied a set just for pedal notes (sic) under the bass line. Awesome. Haze still gig occasionally I really must get to see them, it's only been about 38 years 🙂

Out of curiosity what settings did you use?

Ohh. Can't agree there...

LOL I was just starting to cook when I got a Dyson ad. It sucks!

Curious. I tried playing along to an OGWT video of Dire Straits doing Sultans yesterday and it was about 1/4 tone sharp - as if it had been edited to fit exactly in 5 minutes, but maybe they just tuned to each other, after all this was long before clip and pedal tuners ...

I want to be able to play more of this than just the intro and chorus 😞

Shabby Chic.

That kind of feels as if Not the Nine O'Clock News did speed metal...

Thin polyuerethane rubber gasket, some basses come fitted with one.

Most basslines seem to be one or the other. For example the typical blues-rock bassline tends to use notes in the key associated with the current chord, typically by moving a riff around following the chord changes, but even if it has a lot of variation or uses the blues scale etc. (e.g. Can't Get Enough) On the other hand 'non-bluesy' walking lines seem to stick to the original key as well as fitting in with the individual chords (e.g. Sunny Afternoon).

I saw a blue metallic J yesterday and thought of you 🙂

Send for the immodium! Ricky's got the pentatonic runs!