Stub Mandrel

I agree that if you change string height, you need to check and may have to adjust intonation, but not the other way around. When I set up I like to set string height then adjust intonation. With your arrangement won't adjusting intonation also affect string height, so you then have to repeat the process a few times to get it dialled? With an engineering eye I would prefer a mechanism where the two movements are independent.

Ah. I didn't understand it properly. It's a aggressive fuzz with the option to add in the octave up. I thought it switched between up and down. I thought the Ashdown sounded 'Royal Bloody' when played around the 15th fret. So... I can't get deep subharmonics with this, shame but it DOES get the Roger Glover crunchy sound I was looking for.

Or even ZZX?

Why pick on the Killers? There are zillions of bands who have had more drastic lineup changes. No different to Black Sabbath with Ronnie James Dio and Carmine Appice, if you are still playing the same music. Would anyone other than the most committed Ozzy dieghard have said that wasn't Black Sabbath back in the mid 80s? I'd agree if the music had changed significantly, like later versions of Sabbath that were intended to be Iommi solo projects. The difference here is they have left the door open for people to return.

I think I would have found plenty to enjoy - Stormzy sounds like he gave one of those gigs that you wish you were at whether or not you are deeply into the music. Dig deep into the list and there are some gems. Hawkwind headlined the Acoustic stage on saturday. Bootleg Beatles there today (not yesterday...) Steeleye Span, Fatboy Slim, Billy Bragg, Proclaimers, Chemical Brothers Even Bring Me the Horizon as a guilty pleasure (my daughter was into them as a yopung teenager...) But 100 stages? And other festivals across the UK. Fifteen years ago people said the internet was going to kill live music.

Bloody hell! Someone who looks like their avatar!

I've been trying out a Joyo Voodoo Octave. It certainly gives me the great thick fuzzy sound I want for Space Truckin' - mainr eason for getting one. I don't seem to be able to get the 'chorus-like/Royal Blood' sort of sound the sub control on an Ashdown head gives. Any advice of getting that sort of sound? Also, where in the effects chain is the best place for one of these?* * and why do bass players need more effects than guitarists? 🙂

Aren't you going to be chasing your tail a bit as changing the intonation will change the action, and vice-versa?

"Don't be vogue, ask for Moog".

Typical scot! Won't even pay for a dog to hunt me down properly >ducks<

This thread is an interesting read. One of the hardest things to get is an honest, objective critique of your playing style. When i meet other bass players they tend to be awfully polite - I wish they would say 'have you tried' or 'your behind the beat'. I went to a teacher looking for 'refreshing' my playing. He barely asked me to play anything then shot into long exercises playing different modes along single strings. He seemed to want to turn me in to a jazz improviser. I wanted someone to spot my weak points and also help me get to grips with 5-string (where its across the neck that you really want to develop). Two (of many) things that have helped me... right at the beginning in my first band we did a few songs with syncopated bass lines and the guys really helped me to get the rhythms right. Second, one of my brothers watched the recording of my recent (and first for~ 23 years) gig and took it apart song by song - in the nicest possible way. With fresh eyes it was easy to see how we started off pretty loose then after a couple of songs 'clicked' into the groove and our timing got much better. There was the one where the guitarist and I were locked together but I'd got fractionally ahead of the drums. Another where the hi-hat pattern went wrong so what I normally play wasn't quite working. Silly things like me standing in the wrong place and my awful microphone technique for backing vocals - moving my head close in at last minute and pulling away too early - the only one that worked well was ironically when I was right back from the mike because I was unsure of myself and the sound engineer had bumped me up! Some good things - where I got lost, went to root notes for a verse and then slipped back in. Obviously the view we had wasn't really going to help with wrist position etc. but I'd love to get my technique dissected in the same way. the lesson I REALLY want is the one that helps me remember the structure of complicated songs quickly and easily!

LOL! I saw you post and thought you were recommending a coat of copydex to make a strap non-slip!

Music stands? I have a YTS trainee as a page turner.

"Quite progressive" - just a bit! Alan Holdsworth, John Wetton, Bill Bruford and Eddie Jobson 🙂

Added a re-speakered for 8-ohm Peavey 115. Seriously bigger than I expected. Now I'm getting BAD thoughts about having a dual stack rig with the Laney and two 2x12 cabs.

+1 I'm a sucker for a transparent blue burst. Best finish of all.

We can only lisetn to that for another four months, Then we have a diet of this...

Whooo that's very precise playing!

You get a better conversation with the Chinese bloke, but somehow it doesn't feel the same...

It's "don't let a drunk near a cassette recorder".

You can just record and MP3 on you phone and upload it here - it has to be downloaded to play it though. God only knows what this crap I found on my hard drive is, bu I think it dates from the 1980s... 😫 Pedwar_Random Bits.mp3 Should clarify this is not a bassline to be identified, it's just some random guitar and someone hitting a box. Done badly.

I thought that throwing acid at your bass was the latest 'relicing' technique...

Kerr-ching! I didn't think that would take long! Lyndon Johnson Bares His Scars - American Stars 'n' Bars.

Respectfully, I think you've missed the point. 1. No amount of digital conversion will ever completely replicate an original analogue master, whatever it's shortcomings. You can't get better than the original data, and in the future new techniques might let us get more out of it (like when they found it was possible to extract colour data from some old B&W TV recordings - you would not have been able to do that with B&W digital copies). 2. The quality of such unreleased recordings varies. Some are very good or at least tell us a lot about the songwriting/recording process and the artist's musical journey. In any case most of these tracks will be better than the likes of me will ever produce! 3. An original master is an important document. Anyone (even me!) who has played with their own recordings, however humble, will know you can get very different results from the same original material - only last week I listened to some recordings of mine and realised I could have done a much better job with some simple changes. I have the original 4-track cassettes and may have a another go! And imagine what could be achieved by going back to 1930s recordings of the old blues giants? 4. Of course released music has been lost, but out of 500,000 tracks I very much doubt all the unreleased material was crap.

Crikey, you lot need to get your phones out! I admit it, I'm addicted to this so I've done a quicky as a filler. Tell me to b***r off if I'm hogging the spotlight! This should be 100% easy to get!