asingardenof

I'm struggling with my picking speed during the solo in the middle of Club Foot. The rest of the song is fine, and I know all the notes and whatnot for the solo, but I just can't get my right hand to cooperate and stay at speed and on target for the whole thing. It doesn't help that I need to change grip to achieve the required speed from the one during the verse and chorus, but I can maintain it for about three or four bars until the notes get high, the string tension changes, and I find I'm slipping a load of notes. I've tried it with a stiff pick (1.14mm Tortex), lighter pick (1mm nylon), at the bridge, at the neck, in between, but nothing's worked. We're hoping to incorporate this into our set, and the band think I'm doing OK, but I'd like to nail it, so any tips on this would be very much appreciated.

Yep, better to have it and not need it than need it and not have it

Not sure if this would help one sound like Lemmy, but it sounds great in this review from @CiciBass

Another vote here for Ashdown. Their customer service when discussing the repair of my loaner amp was one of the factors in my deciding to buy my ABM.

I've basically scattergunned enquiries to every potential venue in and around Wakefield district, but only had a couple of tepid "maybe in the new year" responses. Haven't worked up the courage to try researching all possible venues in the big cities like Leeds and Bradford yet, but I suppose I'll have to before too long. We have a couple of regular haunts but they're only good for maybe half a dozen gigs a year.

Hope things look up for you! We've three more this year then nothing until August so I feel your pain somewhat.

Index and middle, and then ring when I need to get a gallop on

I'm sure in person he's fine, but my word he has a real talent for rubbing people up the wrong way online.

Yeah, I had to stop following him on FB after he went on a bit of a spree of pissing off people whose views differ from his because it was getting extremely tiresome. Like OK Jeff, read music, teach yourself technique, we get it, but that's not the end of the story!

I can definitely recommend pairing it with a Barefaced cab, either a One10 or a Two10 (I do the latter), and I believe others in these 'ere parts do the same.

Another reason I need to watch that film then!

Or make sure your cab has good dispersion as that'll mean less faff.

I have an Ashdown ABM-600-EVO IV head, and while it's fantastic, at 600W it's more than I'll probably ever need, though the extra headroom is nice to have. I have recently been using a Trace Elliot Elf for smaller (pub) gigs and I haven't gotten above halfway on the volume knob with 200W @ 4 ohms. Obviously if you're going for the head/cab separates option some of this will also depend what cab you have.

Jeff Berlin (who I now think of as the UFN thanks to Ed Friedland) swears by his four-string signature version.

Welcome! Loving that someone else is rocking the Squire P and Sire V7 stable, although my V7 is a 4 not a 5.

A current one I believe is Yola, who if you haven't checked her stuff out is incredible.

But but but, vintage!

Nice one, thanks! Might look at the 60 as 500mm is the width of my current board and I have designs on acquring more pedals in the new year Also looking at the Pedaltrain Metro series.

It's interesting that there's a comment from June in the seller feedback about making a MIM Jazz try to look roadworn, so I wonder if they've been trying to flog this for some time but nobody's been fooled yet.

I can happily recommend the TC Electronic Corona, which does do Toneprint so you can download presets straight to the pedal if you wanted a number of different chorus tones to use on the fly. There's some interesting ones done for the likes of Nathan East, Duff McKagan, Victor Wooten, Fieldy, to name but a few.

Don't think I've posted an updated version since adding my PSU, but I definitely think a three-rail board might be on my Christmas list as the number of affordable two-rail boards with PSU holders under them seems pretty low.

I can still see it there

Exactly my point. The system as designed relies on every venue where live music is played, or every band that plays live, reporting what songs are played at every gig. That's never going to happen, as you say.

So songrwiters are supposed to contact every venue in the country on the off chance someone has played one of their songs?