Rich

Tsk tsk Mike. Fancy getting Frank Plank's name wrong.

I agree about the Genz cab, it sounded excellent. But the BC12MkIII blew it out of the water -- the clarity was just out of this world, not a trace of harshness or mud at either end of the spectrum. As a two cab solution (or one cab for smaller gigs) I would snap them up in an instant. I do play quite a lot of larger gigs so my ideal one cab solution would be the Greenboy -- as Phil says, it was pretty much the BC12 but bigger. Both of them have left me dissatisfied with the sound of my EBS 2x12. Great, more GAS just when I thought I was ok. The BC12 was definitely my winner by an absolute street. It's a credit to all those involved in its development.

Playing with my old jazz trio, in a jazz venue, on a jazz night, I had an irritating student type ask me if we could play Iron Man by Black Sabbath. The first time, it was amusing and I laughed. After the eighth or ninth time of being told 'oh come on, surely you must know it, play it', I snapped and invited him in no uncertain terms to sex-and-travel.

Unfortunately both my pinky fingers are too arthritically knackered to be of any use at all

Ye gods, as if a sober and invited one wasn't bad enough.

I saw Matt Garrison using all four fingers when he was playing with Gary Husband. Quite astonishing to watch. No slouch!

The Air That I Breathe - Hollies

The unacceptable face of pub gigs. (the UV woman, that is, not Jack's band)

Beware Of The Flowers ('Cos I'm Sure They're Going To Get You Yeah) - Otway

I only used to play a few songs with a pick, but now I play roughly half the songs in the ska band's set with one. A lot of them make so much more sense, it leaves me wondering why I ever played them fingerstyle in the first place. My weapon of choice is still the Herco heavy thumbpick. I love the fact that I don't have to grip it very hard at all.

Yes! What a ludicrous little cab (in a really good way).

I make sure the open strings are in tune and the intonation is correct, and I deal with any slight inaccuracies in fretted notes towards the top of the neck by Really Not Giving A Sh*t.

You Know Nothing - Swans

George Anderson's Jaydee signature GA-24 (on the left). For me, a more attractive body shape than the more familiar 'Mark King' Roadies.

You're Breakin' My Heart - Nilsson

Catley's Ashes - Jakko Jakszyk

Chris Wolstenholme's double neck Status/Kitara. The Gedster's red Wal. Stu Hamm's Fender Urge 1. JPJ's 10-string Manson.

The Last Waltz - Engeldink Humperbert

Counting Sheep - Safia

That's odd, it should have taken you straight to this post:

On My Own - Patti LaBelle and Michael McDonald

Well... keep it to yourself, but I've found a gap in the razor wire that the border patrols haven't spotted yet. Getting past the guard towers is easy enough, and if you can get a decent fake South West passport, you should be ok. Oh, and rehearse a few choice Bash phrases. "How does this tiny bass sound so huge?" and "can I have yet another cup of tea please?" and "can't resist it, I'm gonna have to go get some seconds" should do it.

"C'MON TAUNTON, LEMME HEAR YOU MAKE SOME FACKIN NOISE!!"