Muzz

Could've been worse: you could have had a tattoo... 😕😀

Ohhhhh...I'd forgotten those...

You forgot those big flappy-paddle Fodera ones, too...

And this random scattering of...stuff... That toggle switch directly below the jack socket is the worst bit, tho... I tell a lie; it's the 70s rectangular socket above it with the two cross-heads; you'd think for a billion pounds* they'd get a round one that looked slightly more in keeping... * I'm guessing here, but I don't think I'm far off...

This hot nonsense...just one of the reasons I'll never own a Ritter...looks more like the result of a South Central drive-by...

Same here, mine are sitting in the packet. With things as they are, they could be there a while...

I've got a BigMan in one of my Shukers (with a Parallel/Series/split switch), and it sounds fantastic... 👍

Yep, worst part of the bass IMO

Yep, I agree - I had a bit of a thing a couple of years ago when I revisited some songs after I realised I'd been playing them wrong all along, so I learnt them right. The next gig the guitarist said 'What are you playing? That sounded rubbish...' 😕🙂

I really liked the barky middy setting on that pickup (can't remember which click of the dial it was)...surprisingly aggressive with a pick. If I had the money for a big static collection then I'd still have mine, but I ran out of cash and had to move it on...

Unless I'm in a tribute band (and I've never been, and am unlikely to), then much as above: the iconic bass lines (Good Times, Hysteria, This Charming Man, etc, etc) get played right, the rest depends on the band, the lineup (I do a lot of trio work, and that requires some filling/simplification, etc) and the gig, but most importantly how the song as a whole sounds. It doesn't do to get too hung up on it, though: if anyone on here's played the bass line to Superstition, then technically you're doing it wrong, because the original's not on the bass... 😀

I've always wanted an Ampeg Micro-VR stack for the house, just to pop it in a corner for 'How far away is that?' fun, although it wouldn't be much use to me for gigging; a bit too short for Richard and too long for D1ck... I'd also second the Helix Stomp idea, even if just through an existing amp, or even cans; perfect for endless faffing about with tones and effects...and if you get a really good Hysteria patch sorted, let me know; I've been collecting them for a while, and I've still not got a great one... 😕🙂 edit; well, the profanity filter ruined that expression...

The metrication of the UK has been going on piecemeal since the establishment of The Metrication Board in 1968, but still isn't fully metricated. The Board packed it in in 1980, and their final report said '...taken as a whole, Britain is far from being wholly metric."

I'm sure if I'm ever in the position again of needing big stage power (tho the Walkabout with two BF cabs goes ear-protection loud), or even if I had some spare cash to indulge myself, I'd have another M-Pulse - that bit more cleaner headroom would do it... Sadly, with things as they are, that may be a good way away... 😕

Oooo, yeah - this, but reversed, with the M-Pulse 360 in third; with a couple of efficient cabs, I never really had any power/volume issues...

Not quite begging, but that sort of thing can backfire spectacularly; we played an RAF gig once for a contingent of the RAF Regiment's Welcome Home from Afghanistan - these lads had only been off the plane that morning, so they were...giddy... We were playing on a stage in a huuuuge hangar with a big bar (tins, free, squaddies for the use of), BBQ, and a few other kinda stalls set up; for the encore, our singist said 'Let's get everyone down the front of the stage'. Ten seconds later we had at least 40 hammered squaddies ON the stage... To be fair, nowt got broken, but pretty much everything got a decent coat of lager... 😕🙂

If we're allowing tube pres, then the Walkabout is the best one. It's the best head I've ever owned, period...and it'll be the last one, too...

The Stormtroopers Of Death's seminal Speak English Or Die album has 21 tracks and clocks in at a whopping 27:09...I particularly like the calm soundscape of 'Diamonds And Rust (Extended Version)', running to 0:02, or, if you're in the mood and fancy something a little more indulgent, Hey Gordy will assault your ears for seven of your earth seconds...

Ooooo, non-bass-related remorse? Don't get me started...I owned and sold three Kawasaki 750 Turbos over the years, and missed every one of them. I'd have another like a shot, but prices have long since gone over the feasibility threshold...same with RD350LCs...

Holy moly, that's amazing!

From a financial perspective, a few, which I sold for peanuts (£250 for a 4001, anyone? 😕) but as basses, only the BB3000A, which I really miss...

None of my BBs has ever twitched; from the single-piece (IIRC) BB300 and BB414 to the neck-thru 5-piece (again, IIRC...it's been a while) BB3000A and all in between... But then they're Yamahas: I'd hardly expect them to... 😁 The Lakland neck wasn't a Skyline one, either... 😕

My Dingwall's neck is a 3-piece, albeit all maple, and has never moved in a decade now, even tho it's 36"+ scale, and no matter what strings I put on it. I do like a very slim neck, so I guess with less wood in cross-section, there's less to prevent movement. The worst I ever had was a Lakland single-piece which developed a backbow and then a twist...I've still got it in a cupboard somewhere...lovely fingerboard, tho... 😕 As is repeatedly stated in the Tonewood Hoohas that crop up regularly, wood is an organic material, and no two pieces are identical, so there's an inherent inconsistency there from the get-go.

Admittedly I have a Stomp for tone shaping, but I've got a Rumble 100, into which I've put a 'proper' Eminence speaker, and it's loud enough for drummer rehearsals and small bar gigs (I wish). Possibly bigger than the OP wants, but it's very light...

This one feels very close to home. As has been said, a gamechanger and a legend, whose influence on rock guitar is arguably unsurpassed. Plus, as has also been said, done with a levity and a famous grin that made the subsequent gurners look like they were trying far too hard... His gift for a hook line and great songwriting wasn't restricted to the guitar, either - some of the keyboards on the Van Hagar songs are world class. 65 is no age, tho having just read Sammy Hagar's autobiography, it's safe to say he lived a, erm, big life...