Stub Mandrel

Would it be a sin to remove the gp11 preamp from my 1110 combo and marry it to a 500W class d power amp?

It's guitar not bass, but Peter Green's opening note on The Super Natural, of John Mayall's greatest album, A Hard Road. I think Gary Moore and Joe Bonamassa dedicated their lives trying to repeat it. Lovely bassline by John Mcvie too - blues but not a predictable 12-bar. One of my favourite songs.

I have tried at least one of this pair if not both. They are very lovely.

I rotate my practice bass but often end up back with my 40th anniversary Squier P. I try (often unsuccessfully) to gig one of my favourites and one of the others. I've managed to gig all my basses except the two Kay short scales, and one of those has done an open mic. Some have only done short sets or a few songs. My main bass from the early 90s got its first full gig (rather than one or two outings for the odd set) in 30 years last weekend. So I rotate basses slowly but do have my favourites.

There's actually a precise formula: Too many = how many you have now + 2 That means there's always room for one more...

That's fair enough.

Yes, fascinating . Ringo... best actor, best dancer, given the 'intellectual' lines and spotted playing the piano...

It's not just me then...

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