6feet7

Just bought my Tokai Hardpuncher. Great guy who I would happily deal with again.

The Pro Tone's are supposed to be very very good guitars and basses. They were only made for a couple of years before Fender pulled the plug as they were taking sales from both Mexican and American made Fenders, they were so good. Korean made and supposedly with extremely good quality control and woods. Buy straight away if seen I've been told.

Depends on what speed the drummer decides to play em. Sometimes it's different speeds in the same song

I came to bass via the guitar so just carried on using a pick. After a couple of years I decided to go to the 'traditional' index/middle finger approach. I now do either depending on the song - fingers for mellower sounds, pick for attack.

Looking good. I'm about to do something similar for my work office (but there might have to be my gear in there too but I was going to add insulation (sound and temperature) on the outside, not thicker than the corner overhangs, then cover that with marine ply and reclad this with cheap, thin wood cladding. That way i still have the lovely wooden inside that wont be dead acoustically and, as long as I do the outside well, it shouldn't look too different.

Many thanks for that. I'll have a look later All the best

That actually bought tears to my eyes

I'm near Uckfield. Brightons fine but Worthing and Horsham a bit far for regular stuff. I was in an originals band playing anything from indie to pop to rock but I'm a classic blues/rock lover really - root, 5th and octave (though I can't get enough of Rammstein at the moment .

BUMP

I remember reading an article about a repair on a 1959 Gibson Les Paul pickguard. A small chunk had been broken off so they got a new piece of identical material, cut out the exact shape and I think they somehow gently melted the bits together (I can't remember how but I think it was a soldering iron with a small piece of wire attached - one end to the solder and the other end between the two pieces of plastic - but don't quote me on that). They then spent ages with a razor blade smoothing off the join on the front and back till it was almost impossible to see the join. Might be worth a try?

Posted on Facebook by my friend, sound engineer, Ian Caple Very sad to hear about Lemmy’s passing ... I'll always have fond memories of him, as Motörhead were the very first band that I engineered for... one of their earliest gigs. It was the long hot summer of 1976, I had left school but was trying to avoid getting a real job. I knew a guy who was a roadie for a local band called Stray. They had a big P.A. system & a wall of Marshall amps & were constantly gigging round the country. I would jump in the van help him out from time. As the roadie's assistant I was just about the lowest in the food-chain - lifting huge flight cases in & out of the van & down flights of stairs in dodgy clubs & student unions around the country for £5 a gig - but I loved it. That summer they played an all-night gig at the Lyceum ballroom in the Strand - a beautiful old theatre in the West End, opposite the Savoy Hotel. The first band would go on at about 10.00 pm & it would finish at about 7.00 in the morning ! Stray were second on the bill to Motörhead who went on stage about 4.00 am. The engineer doing the sound had been smoking large amounts of weed all night & just as Motörhead were due to go on, he was found collapsed in a heap in the dressing room - so I was pushed into the space behind the desk & suddenly became the sound engineer ! I stood nervously behind the desk as Motörhead came on stage & they burst into the first number - Lemmy didn't look happy - he kept signalling in my direction to turn it up. I stared at the faders & found the one marked 'bass' & in desperation pushed it up to the top. The ground shook, Lemmy looked happy. I then found the master fader & pushed that to the maximum. The volume was deafening, Lemmy looked even happier. Despite complaints about the noise from the manager of the Savoy, we continued til the morning & I drove the van home with my ears still ringing. It was my first experience behind a desk & thanks to Mr. Kilmister I learned a valuable lesson - when in doubt, turn the bass up & then turn it all up ! R.I.P. Lemmy.

Sorry but it has to be G&R's Sweet Child of Mine

Great communication. Came straight over. Would happily deal with again

I'm afraid I've left quite a few gigs over the years but the big names that spring to mind were Deep Purple In Brighton just when Ritchie Blackmore was about to jump ship again in the early 90's. You could tell that they were going through the motions but hated being on the same stage together. Joe Bonamassa a couple of years ago at Hammersmith. The drum and bass were so loud I felt physically sick, and the last one was Slash and the Conspiritors supported by Glenn Hughes California Breed at Wembley (was that this year or last? Time flies). Glenn Hughes just screamed all the way through his set and then kept telling everyone he was English (I suppose for those people who thought he wasn't) and there was absolutely no chemistry at all with Slash' lot. I didn't even stay for Sweet child of mine it was such a lack lustre experience