hubrad

Excellent stuff, thanks Scott.. just watched it having eaten lunch at work, and I'm now in such a floaty soporific place. Coffee 8-)

I got that mail, dropped in my hotmail Junk folder. My address isn't at all unique to BC, so it could have come any way round. I think alot of these spammers don't even bother harvesting real email addys these days, but make up millions of permutations of names and mail servers. I've sometimes received such stuff as one of dozens of Cc addresses which are vaguely similar to mine; never bothered checking to see if any of the others even exist!

[quote name='EssentialTension' timestamp='1347801078' post='1805117'] This is not at all obviously true. In fact, given that roundwound strings have a spherical wrap while flatwound have a tape wrap (not exactly a 'solid bar') it seems quite possible that there's less metal in a flatwound. I expect it also varies greatly between different manufacturers. But not all flatwounds do 'feel tighter' (i.e. compliance) nor do they all have higher tension (e.g. TI Jazz Flats). [/quote] The core of the string is what dictates the tension.. there's x thickness of core and y thichness of winding; x+y=gauge of string. A thicker core with less winding will give a tighter, more powerful string, whereas a thinner core with more winding will reduce the tension but give more harmonic richness as you have a more flexible string. Different makers use different (sometimes several) mixes to achieve different sounding and feeling strings. On Nylons.. I've used Picato black nylons on an Overwater fretless, which gives the closest thing to EUB tone I've ever got from a bass guitar.

[quote name='Bilbo' timestamp='1347018687' post='1796041'] Ya just gotta do it. Again and again and again and again until you get it right. [/quote] +1, and +1, and +1!!

'Cue the pendant'.. Isn't that the party game, favoured by children in warm countries, involving beating the [email="cr@p"]cr@p[/email] out of a papier mache donkey to get at the sweets inside?

I wouldn't use lemon oil on the body, although it is the most usual stuff for the fingerboard. There's an excellent 'Violin Polish 1880' by Stentor.. most music shops that deal with violins will carry it, or if you can't find it we'll mail order you some. I've done my DB body all over with it twice in about 7 years or so.. the whole house smells seriously amazing for a couple of days after that!

Get another string, and this time allow enough length for 3 or 4 turns round the post.. You need the string to leave the post as low as possible. I've seen similar on a variety of instruments, and the above should fix your problem.

For that price I would be wanting a meouwing pitch generator!

I've gone through Victor C. Knight for years, since they were the MU official insurance agency (joined the MU for this very reason!). Give Patrick there a ring on 02083512400.. he always seems to know just what's going on. I think MU use Hencilla Canworth now, but they came up with just too many dumb-ass questions ('do you meet famous people as part of your work?') and quoted me more for the same cover with the same company. In the past I tried a couple of times to get quotes for alternatives; as soon as you mention 'Business use as a Musician' the everyday insurers would double the quote or even refuse to quote at all. They think we're all Marc Bolan or we might be carrying Sting in the passenger seat (think of the Loss Of Earnings claim..)

Just wait for the counterfeit brigade to jump on this!

... and you owned up to us all!

I had a Boss problem years back which may be an issue if one of your pedals is fairly old. Seems some of the older pedals weren't designed to work from 0V to 9V on psi, but instead the 'ground' level was a couple of volts positive. Fine one at once, but two pedals of differing generation could clash and just not quite function correctly.

If you're finding a single 12 too dull and lacking midrange, I'd be more inclined to upgrade the 12.

Peavey used to do a bi-amp top with 100W power amp and 2x8" speakerage. I still have one buried somewhere at home.

She's probably pi**ed off with the comment "Thin neck and light to suit a female guitarist."

I prefer the snare side of the kit from a drummer POV, but mostly these days I'll be at the other side so that, on dep gigs, I can get a better view of the guitarists' chord work.

I'm pretty much exclusively on fretless 5ers.. mostly I'm on 45-105 +130 gauge-wise on rounds, flats, and half-rounds. I also use Picato black nylons which are thicker (50-130) but lower tension. Probably not a helpful thing to say, but I love 'em all! I used to use 40-100 +125, as they were the only set I could find for a long time to go on a headless 5) but way prefer the tone of the slightly heavier sets.

Endpin is the most common for me. You could experiment with bits of foam to immobilise/damp various bits..

Beautiful looking bass, Stavros! Interesting use of the Ibanez Roadstar truss rod cover, good recycling Love the idea of the bass getting a trip to the beach for sunset.. we could have a whole new thread of Basses In Unusual Situations

[quote name='TimR' timestamp='1339796810' post='1694737'] I think that anyone who has worked hard to become very good at their profession makes what they do look very easy. Be that carpenter, engineer, or musician. Most people see someone doing something well and it looks easy. How many people have said to you "I wish I could play an instrument. When I was younger I started to learn ....... but never stuck with it. " So I think people know it's hard and takes a lot if work but think because they're enjoying listening and dancing then you must be enjoying playing, so why would you want to be paid? [/quote] We've got builders (good friends, also bluegrass musicians themselves) in at the mo. They make their tasks look straightforward enough, whereas 'helping' them on my day off is quite an eye-opener and something of a Generation Game moment! On this track, the MU mag that arrived a couple of weeks age has some mention of musicians being approached to play Jubilee/Olympics gigs for free or very little where it appears that riggers, PA companies, bars etc etc are charging as normal. Obviously not to be approved of!

Your pint on my amp... Just NO! For just the same reason as passing the soundman or recording engineer a brew ROUND the desk.

What you want is easy to track down in electronics stores. I've got a couple of spare pots with push-push Double Pole Double Throw switch built in. Great projects box stuff:-)

Must dig out my Danny Thompson video - Bassically Speaking - I feel sure he said something about njust having to play that much harder way back when. I suppose it accounts in part for the apparently shorter envelope, if you're flat out all the time there's little room left for sustain.