Downunderwonder

An outstanding example of the kind of lowlife that gets up to that sort of thing story... A few years ago Christchurch had a bad earthquake. The worst building failure was the near total pancaking of a reinforced concrete multistory office building. Something like 3/4 of all the deaths in the quake were in it. The investigation turned up that the supervising construction engineer was a con artist. Had the building been built properly it should have stood up but they couldn't prove it. As far as I know the guy never even went to court but he lost his job as a ''helicopter maintenance ''engineer'''' in Australia. Some mothers' children....

A spike is very unstable rotationally until you add a wing to brace yourself into. That's why the tripod is the usual goto stand. Your original plan to spike it between your feet and pad it against the chair would work but it would put the instrument quite vertical and too far forward unless you can sit up and balance on your haunches?

We may never know at this rate.

The trick is to put the heat shrink on the wire before soldering together ( DOH!!!) and not get it all so hot that the heat shrink goes off before you slide it onto the joint! Tinning the wire ends goes a long way to making it quick to get a joint. Remember that solder flows towards the heat.

You can probably get one with the NXT omni boomerang sling system.

So many different tones in one pedal depending on settings and attack, like prunes and custard, has to be experienced!

Looks like a bought one.

Because handyhand doesn't have such a good ring to it?

There's a lot missing from what he can play if he never learns some technique. Disclaimer, I am entirely self taught and can't slap my way out of a paper bag. To make it talk I am relying on muting AND ringing when appropriate. OP still didn't say if he was a pick player.

True. But the reason for the misstep is knowing amp power specs and cab impedance and power handling one can intuit a little easier than working in volt amperes.

Maybe it has been improved on since the early MAG combos? The one I played on for a couple of years of rehearsals would often sound horrible when I plugged in. All mush of a low end. Solution was to turn OFF the SubHarmonic button.

The Thumpinator is a very bare bones HPF that only takes out actual thump generated LF. Fine if that's your bag but there's a whole world of 30+ hz that other filters will tame.

Did you read the post about the complicated bracing scheme? No way to make it flip without taking away a lot of internal volume either.

Yep. Next step is to take out the sponge and learn how to play it properly! It will imprint eventually now that you know it's a lack of muting from the plucking hand. Getting it down will improve your playing no end.

I think it is fair to assume anyone after gains is already running full tilt and coming up short. Usually they will be lacking dynamics from exhausting their headroom or their cab is complaining. In the case of the Elf it's touching on being able to overdrive one BF110 but won't deliver double the power into two of them. Power is a derivative quantity of voltage and impedance.

There's your problem, your drummers can string sentences together.

Drummers don't speak semantics.

Are here to stay!

Relicing brand new instruments. Makes as much sense to me as brand new ripped jeans. Bah Humbug!

I blame the prevalence of open mics. Tell them where to find one of them and stop bothering you. Better yet, put on a better show than an open mic pickup band so there's less confusion.

Going by the frequency I read of BC bassists using a 210 or a couple of 110's or a single 112 or 115 I feel the average UK pub band is a bit more under control than you make out.

Ime the room only varies widely because FOH has boosted the hell out of the subs. 300 to 500 cap. concerts.

Let's say the dessert island has a bunch of bands all needing a bass player so you're gigging every night with a different band and all you have is a FRFR cab and a Trace amp that has no dirt onboard and the gigs are all huge PA supported shows. I am going to want a DI'ing dirt capable preamp, a Prunes and Custard and a HPF.

I believe you but I also believe the audience was likely having too good of a time to care even if they did notice something off. On the other hand, if I can't make a rehearsal it gets resheduled. Anyone else and it carries on. I think your challenge is only applying well to very loud bands where it's hard to hear much of anything for all the everything louder than everything else. Any jazz player knows what dropping out the bass does!

The lights are always on at BC.