Rich

I've got a ska gig the previous night, but I'm going to get to you as early as I can.

I recall that he was a proud Trace Elliot user for many years... not a single trace (haha) of it left in there now, sadly. Perhaps unsurprising that an aural exciter is the first thing in line. Part of the desperate attempt to make his flats not sound like flats, I guess

Perhaps unsurprisingly, our dear mate OldGit had a whole stack of fabulous and uplifting music at his planting. One that sticks in the mind was 'Redemption Song'. My ex-father in law had Eric and Ernie's 'Bring Me Sunshine' as his filing-out music -- he was a relentlessly cheerful bloke in life and it was absolutely perfect.

My Boomerang Won't Come Back - Charlie Drake

You'll be most welcome if you can. Shall I add you to the list as a 'tbc'?

Well if it's all so irrelevant and meaningless, why did you bother commenting in the first place? Simply cross this thread off your list and move on.

Well not you, obviously. You seem to be in the minority so far. Well, given that it's a} a country music venue and b} in Oklahoma, it would be pretty much off my list even if it was paying $1000 an hour. But thanks for the advice anyway.

That one venue could give them enough material for a whole double album.

Ah yes, the powdery, squelchy "benefits"

https://countrytown.com/news/is-this-a-new-low-for-pay-to-play-gigs/KoSQPD8-ISA/18-05-23?fbclid=IwAR0MPYlHlj3QRTVbA9ecWgRce-qvR2HK1KQkmIUXOTy52wFwIexhXmSh0_w

This was 2019's but I assume it's the same one.

Veuillez rédiger vos messages en Anglais. Merci.

Veuillez rédiger vos messages en Anglais. Merci.

Disco Duck - Rick Dees and His Cast of Idiots

OldGit did that to me once... I sat in with his ceilidh band so he could play his bari and do some calling. He knew I hate soloing and that the last thing on god's earth I wanted was to take a solo. I'd even reminded him. So of course, halfway through one of the songs he was calling, he turned with an evil grin and pointed at me and bellowed "BASS SOLO!". And the entire band stopped, leaving me all alone. In a song I didn't know. In B flat. The git.

I remember reading an article in a rail industry mag many years ago, where TI-21 audio-frequency train detection track-circuits were having a similar effect on a studio in a railway arch. I can't for the life of me remember what the solution was though.

Soul With A Capital 'S' - Tower of Power

Not none headless.

That Smell - Lynyrd Skynyrd

TL;DR version: I've got one and I love it. I've had a five-string ash-bodied maple-necked 1st generation V7 since just after they were originally released (2015 was it?). I sold a wood-necked Status Series 1 in order to buy the Sire and have not regretted that move for a second. And the Status was a wonderful instrument. If the V7 and P7 had been released at the same time I'd have bought the P7, because the P pickup suits some of my needs better, but that's by the by. Apart from the ramp you can see in the pic, I have made four changes: Entirely aesthetic... I replaced the placky knobs with some chrome ones, easy to source on fleaBay. Fairly essential... I replaced the tuners (which were pretty ropey on the early gen1 V7s) with Hipshot Ultralites, which not only made tuning more precise but also shaved a whole half a pound off the weight, which is in practice a lot more than it sounds. Also essential... I replaced the bar type string-tree with a pair of Hipshot retainers. The bar was absolute rubbish. Purely preferential... I have recently replaced the original bridge (which was little more than a BBOT) with a top-loading one, and blocked off the through-body stringing holes. This is because I never strung through the body, always through the bridge, and I hate having to thread strings through holes in the tailpiece, I far prefer quick release slots. This new one also has screws to lock the saddles in place, whereas they were floating on the original. The standard string spacing on the V7 fivers is/was 18mm, this new bridge has extended that to 19 which I do prefer. I never felt particularly cramped by the 18 spacing but I wouldn't have wanted it any tighter. I found the QC to be absolutely perfect... all the inlays were perfectly flush, the fretwork was neat with no sharp ends of any sort, the control cavity was neat (and very full!), and the finish flawless. I like the standard EQ, a lot. Some people don't, "too many knobs!", but I like to have plenty of control available to me and this delivers. Some people also think the headstock is fugly, and while I'll admit it's not exactly glamorous, it does remind me slightly of Sadowsky, which I'm perfectly ok with. If I had to pick on one thing that I don't like, it's the weight. With the lightweight tuners fitted, it tips the scales at 10lbs 3oz (4.6kg), which makes it quite a lump to lug around -- nearly a pound heavier than my Shuker and well over 2 heavier than my Spector. Bear in mind that this is a very early 1st generation V7. The 2nd gen ones have addressed some issues -- by all accounts the newer tuners are faaaaar better than these were, for example. Apparently the rolled neck edges on the new ones are incredibly comfortable, and something I wish mine had. If mine was stolen, I would absolutely buy another, but it'd be a P7 this time. HTH.

He's back to using Jaydees at the moment...

So, they're Status Wood now..?

Foxtrot Uniform Charlie Kilo - Bloodhound Gang

Tailgunner - Iron Maiden

Not much further if the overt politics continues. Cut it out please folks.