Stub Mandrel

I'd rather play Nickelback. Even pigeons know what they think of KOL. 😈

Bandonkers has a special icon to warn you about these time wasters:

Could you get in touch with the Kings of Leon. I'm fed up of being asked to learn their boring dirges...

New arrangement. Added home-build high pass filter and A/B/ABSeries/Bypass box, and lost the (mechanically) unrelibale cheap wah. The new box took some thinking out! All true bypass except the input to A is connected to the input even when configured as straight through B. Worse than Sudoku! Much more challenging than an A/B/Y. Loop A is the two distortion pedals, loop B the modulation effects. Left button is AND/OR, middle is full bypass, right is A/B. When bypassed the A/B LEDs light faintly to show what the setting is.

Really enjoyed that .

Sometimes I like playing a bassline in a different style to how it was originally, typically playing around with the rhythm, syncopating or funking up a relatively simple line is a good fun. A nice example of someone doing something similar is how Clapton changed the rhythm of Layla for his unplugged version to give it a 'rolling along' feel.

You have my sympathy, but the lesson (learnt from work situations) is if you get someone to stand in for you put the 'client' in direct contact with them and suggest they speak to them in advance. If the landlady had spoken to the temporary organiser in advance they would both have 'bought in' to the arrangement. He might have had more reason to deliver and would have felt obliged to at least let them know. She would have been able to contact him and he would have been the focus for here ire rather than you.

Elegant.

Update: used in anger a faint, high pitched whistle was evident. Back at the lab this was rapidly traced to the voltage pump, which was wired to the default operating frequency of 10KHz, and it appeared to be the 5KHz a sub-harmonic of this that was audible, despite being a very faint signal. Larger supply capacitors could have cured this but not fitted a small board. The cure was simple - bridging the unconnected 'boost' pin to the V+ terminal which raises the switching frequency to 45KHz. This is slightly less efficient but raises any 'whistle' out of the audible band and also increases the filtering effect of the output capacitors four-fold. The modified box is silent and sounds 'transparent' although if you 'pat' the strings with the palm of your hand it clearly attenuates the 'thump'. I'll replace the circuit diagram and board layout in my previous post.

That ring thing he's using - don't they sell them in the vending machines in the toilets?

It's the drummy equivalent of the 'I paid ten people to record a bass solo so I could show you the seven worst to show I'm slappier than them all' channel.

I dived in at a random point and the first twirl I saw made him hit the hihat well behind the beat 🙂

Well I never liked the MM pickguard, and that locks in my prejudice! Not convinced by the stripy neck.

What about using a baby wipe or similar, after washing the detergent out and drying it? very strong unwoven material, and light.

Ah yes, the Dooks of Buzzard. Where's cousin Dozey?

ELO + =

I think they are a sample of 10538 Overture by Elo, so using a chamber orchestra might be the way to go...

For a bit of fun, guess which Fender bass has this high-quality sealed construction jack socket? For a bonus point, where was it made?

I've fixed lower power speakers with the sort of tissue used for model aircraft before, light but strong and conforms well to a curved or textured surface. You could use multiple layers. Several layers fo thin paper will be better than one of thick card as you want some flexibility. Not a fan of copydex, I'd use PVA diluted 50% with water, as little as you can get away with. If you can seal the hole, you're good to go for a temporary solution and no bodge on the cone will prevent you from having it properly reconed or replaced in the future. If it happened when setting up, I would use gaffa tape, one piece on either side of the cone 🙂

I did think of adding a third loop, just for the compressor, before the A loop. Apparently some people use an HPF between effects and amp to remove 'sub octaves' generated by effects (I can see how chorus/flange type effects could easily generate these).

Next idea forming in my brain... Switching box with two loops and three switches: A/B(which loop active if not on both or bypass) Both (in series) Bypass(neither) Rather than the usual A/B/Y arrangement. And build a high pass filter into the same box. Planned use: Bass ---> compressor ----> HPF -----> LOOP A ---> LOOP B -----> Amp

I thought you peeled it off the dual carriageway after particularly hot day...