warwickhunt

I generally don't connect wireless (tend to just use the CQ as is) hence I tend to forget that my android devices need fettling when I do go to use them. It's even more relevant when infrequent users in various bands that I'm in want to connect and set IEM; I generally have to go round and get folk hooked up after disabling networks.

I'm not a techy type so I'll likely describe this ALL wrong but whenever I've had connection issues it is my inability to recall what I need to turn off/disable on my device regarding connecting to the internet / WiFi. I always forget to go into my phone/tablet settings and switch off 'something' ergo the device can't see/interact. It is a basic thing that anyone reading this will likely have no issue with! LOL

Unless it were made from something other than some type of metal, I'd not imagine sonic improvements would be any different to the majority of bridges on solid bodied basses. Even high mass bridges gain you fractions of 'sustain' and tbh 1/2 of the bass playing population go out of their way to avoid sustain! LOL

Yeah it saves having to leave space to insert a headphone jack or a lead if you are using it as an output.

Top left is my IEM transmitter. The DiCosimo and Broughton are always on effects. I could use the Stomp HP/LPF (and have done in the past) but the Broughton resonant bump is easier to achieve with the pedal. The DiCosimo is an easy EQ/boost solution to save going into the Stomp.

Thet eventually conceeded that the courier had no case and dropped it. A courier or intermediry will try and avoid any pay out. However, my case (and @Gunsfreddy2003) is a case of the courier trying to claim that packaging wasn't appropriate (which it patently WAS) and they tried to claim a handling charge because it wasn't regulation packaging!

I doggedly kept on at them that my packaging was appropriate and that I would challenge Interparcel via the Ombudsman as my contract was with them and not the courier (ergo they couldn't lay off the blame). I'd certainly be challenging that plastic bags are not appropriate; it needs to be waterproof and there are plenty of major companies use plastic bags.

Indeed but tbh the roadworn sunburst isn't getting the use it deserves since I got the gold one!

I couldn't find a JJ pup config on a P style body so I actually had a VS professionally routed for the TT pup config. I can revert the neck pup back to P and have the scratchplate to match.

My Sandberg 'Wall of shame'!

£150 for a practice tool... I'm sure there are lots of options that do the same thing (maybe not as well but it is to practice with... does it need to be that good?) for a lot less money. I'm not about to throw out my Mooer Prime P1.

The other obvious thing is that the Screw On (they aren't 'bolted' on) body is predrilled to accept the screws; it's not like they just stick 4 screws through a blank piece of timber into the neck!

'Easy' to find... you sure?

I looked at converting a bass to 12 and the neck size, rigidity aside, the cost of parts started to stack up. One of the big hurdles was sourcing a 12 string bridge as they aren't exactly an off the shelf item. Modifying other bridges needs to include the octave strings being intonated separate to the bass strings. One way to get round it is to buy a donor 12 string bass... Oh wait!

"I haven't ever tilted it or put it on a stand off the floor" Direct coupling with the floor is generally not a great thing any way as you often just get 'boom'. There is a point where boundary reinforcement is lost when lifting a bass cab/combo off the floor but tilting it or lifting it 12"-18" isn't going to harm/lose you bottom end.

Pinged you a message Kev.

I've used loads (and loads) of amps over the years and once you get above a 300 (genuine) watt rating, with a reasonable speaker array (210, 112 or 115... heck some good 110 cabs will cut it) you generally have enough power to be heard over an enthusiastic drummer; especially in a rehearsal room. However, what the guitarist(s) are doing, your EQ, room size/shape, cab positioning, drummer location etc can all affect how well you'll be heard. As others have said, you all need to be looking at ear protection, especially in small rehearsal spaces where you are playing with a drummer (cymbals destroy bass players ears). Get everyone else to turn down would be my starting point; the drummer playing at their comfortable level should be the loudest thing in the band, if you are drowning any of the drums out you are too loud... says the man who has been in many pitched battles with overly loud bandmates! LOL Oh and I had reason to use a Rumble 500 combo at a rehearsal room the other week and it was seriously loud when it was barely ticking over, so I don't think the gear is at fault unless it is set up incorrectly!

Come and pop in for a coffee mate... we have a pair of MS8000 into our X32 and it is sitting in my music room! MS8000 > 0.5m XLR/XLR to the X32 and the other outs to a 16 tailed loom/snake.

So what they are effectively saying is that if your bass is made solely from Paulownia (as some basses were) it isn't very good and lacks 'bass'! LOL Sorry but the tonewood thing is a minefield and while interesting, isn't the be all and end all. Some basses sound good despite being made of (what is considered) inferior types of material and some basses made of top quality materials can sound conversely poor. Personally if a bass body is made of wood it should be well seasoned and resonant... though it doesn't have to be so resonant (for me) that it rings too much.

I get it. At 61 (almost 2 years ago) I was thinking that it was getting to be too much (40+ years of gigging) but I joined a 'tribute' band at that point and I have to say I'm probably doing some of the best gigs with cracking musicians, better than I've ever done... still hard work and not the carefree life of me in my early years but I do love playing music live. Piano isn't that bad though as it has all of those low notes in it!