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In my opinion the difference between Montanans & Texans is more of a cultural thing. Texans tend to have a sort of arrogance that can be a little overbearing to some people and I just don't get that same vibe from the Montanans that I've associated with. Just my opinion now....

I saw them in 2006, they were great.

And great fun it was good for the soul live music

@TheGreek's Psilos as built by @Andyjr1515 springs to mind.

That's a real shame about Sam. I messaged her a week or two ago to see how she was - that explains why there was no answer.

I am a Fender fan, but they said nothing that would make me reach for my bank card.

I was having a laugh (as indicated by the winking smiley after my text), and I didn't make it personal. You can stick your "clueless" comment somewhere else - I've owned two, and it was two too many for me, that's my clue, it is derived from personal experience. If you like 'em, you're not wrong - I'm not going to call you names for liking them, so how's about a bit of respect for those whose opinions you disagree with?

Not a Fender fan, but I wouldn't mind owning this one. I don't expect anything innovative from Fender, why should I, but this sounds like it may just be something that gets the job done, and that's really what it's all about.

A few observations … The pickups have this odd (to me) looking lip on the top of them. This is neither good nor bad, just something I never expected. The volume level from the bridge pickup (soloed) is pants. Very different to either the middle or neck pickups. This isn’t really a big deal to me as I’d never be soloing that pickup anyway - I never run bridge pickups solo - but may be useful information for someone else reading this. I’d be much happier if, instead of solo bridge pickup, I could have all three pickups instead. The neck/middle pickups sound great though, and the bridge with middle pickup works very well too, so there’s absolutely zero complaints about the voicing of pickups in the available combinations. Da fuq is up with the fretboard overhang?!? I just don’t get it. It looks, I want to say vulnerable, or fragile, but I guess I just don’t understand why it was left like that and they didn’t have the neck go all the way under the fretboard. Speaking of the neck, it’s absolutely gorgeous to play this bass. It’s effortless to travel up and down the neck whilst playing. I was almost able to play it straight out of the box, there were very minor tuning adjustments needed, no issue with neck relief though, just tuner tweaks. For the people wanting numbers, it’s a 34” scale, 19mm string spacing and 47mm nut. Mark

I only went and bloody did it! After this post in the NAMM ’25 thread, and my reply, I waited, and pondered. Then, once I’d seen that Merchant City Music had the Natural version in stock, I hmm’d and ahh’d a bit more, then sent off an email enquiring about the Silver Burst version. As per this status update of mine, I went ahead with the order. Enough words, here’s the PoiDH … There's more images in this Flickr album … Reverend Triad 5 Mark

Two things. One, pay no attention to the acoustic bass detractors...they're completely clueless. Two, go with tapewounds or flatwounds and forget all about bronzewounds. As for Ibanez acoustic basses, the AEGB24E is pretty good. Not as nice as my acoustic bass, but not many are. I believe this uses coated strings. Feel good, nice tone.

Sorry to hear of your struggles. This is most unusual. If the manager isn’t reading the files, but the editor messages are being received, then it sounds like the problem is that the response message from the FI isn’t getting back to the PC. Have you definitely selected both the in and out ports in the editor and connected both cables? Go to midimonitor.com (with the editor closed). Plug FI into interface and change programs using FI’s foot switch. You should see the PCs being sent in the MIDI monitor, which will confirm that the out port is working. Have you tried using a different usb port on your machine? One other thing - you used to have an FI v3 right? It could be that some residual files from the v3 editor are somehow interfering with the v4 editor (though unlikely). Might be worth checking that all old install files and associated config files are removed. Another thing might be if your Volt (or its software) is taking charge of usb MIDI ports in the background. Also may be worth making sure the generic windows usb MIDI driver on your machine is the latest one.

I had looked but they didn't seem to be anywhere that was that near me to go to. I have seen them probably more than any other group, but not since the 80s!

The Floral Dance - WOGAN

My drum knowledge is not exactly tip top, but it looks like his kit (at the RAH) was an electric one. Cymbals look like the black ones that you usually see with an electric kit.

Sorry to say, but my patience with the FI v4 has just about ran out and I think it will be for sale tomorrow. I got a new Midi interface (Digiflex), and on the FI updater it recognises it, select it, go into update mode, click update..... 'FI not present of communication error'. Go onto the FI editor and go out of update mode on the FI, select Midi in/out (it recognises the device), go to editor and move some sliders and the FI display changes from number to two horizontal lines (so the Midi device must be working - it is connecting to the FI and making a change in display). But go to 'manager' tab and 'download from FI' and ......'the FI not present of communication error' message pops up. There are no other virtual or physical devices connected to the laptop, no other usb ports used, not using a usb hub, no other programmes running, the new Midi device seems to have no sortware - no option of thru functionality, and as far as anything I can access - no other virtual Midi is being used. It probably is something to do with my Laptop settings, but this is such a ballache to figure out that I'm gonna give up.

Hi everyone I made a 5 string acoustic bass that I use for gigging but the volume drop on the low B is terrible I've tried packing up the piezo and making sure the saddle is perfectly seated but it seems where the piezo is bent to come through the body I just can't seem to get it right so I'm thinking of doing a hidden pickup acoustic/electric bass instead, my idea is to either put a high output (13-16k) Soapbar or MM pickup under a 2mm cover that's flush with the acoustic body as I want to keep the aesthetic of the clean acoustic look and also use a electric bass bridge on so I can get the strings a lot lower, depending on whether I will need a boost I might wire it into a fishman isys preamp but am a bit concerned that with the high output pickups that it might be too much and possibly clip? From my initial measurements the strings will be 8-10mm off the top of the body is that going to be ok or would they need to be lower? If anyone has made a hidden pickup guitar and can give me any advice would be great?.....👍🏻

If he's a truly qualified service tech, he should know this already,and have the tools to figure it out.

Yes, I currently work for Mesa Boogie, I'm the principle engineer behind all of the Subway bass products but also handle various aspects of the guitar amp world as well. I work(ed) hand in hand with Randy, John, Jim and Doug, spent a lot of time with them, in addition to all the other folks. While I'm the "new guy", I've been designing Mesa for about 12 years, and prior to that I designed for Genz Benz/Fender for about 30 years, plus all my pro audio designs, so I've been around the block more than a few times. I've spent quite a bit of time quantifying guitar amp distortion characteristics (not surprising given our experience in the hard rock and metal world) and in general the desired distortion tones (especially lead) run between say 25% and 40%, but there are a whole family of tones that go beyond this too. Of course the amp is ~1/2 the instrument, the texture and tone of overdrive and distortion are a big part of the creative elements of "guitar tone", specifically how it sits in a mix. Randy's a very cleaver, creative guy, he quickly recognized what players were desiring and through a lot of work (including trial and error since there weren't many if any to copy from) developed the driven tones through cascading gain stages, then voicing these gain stages to be more and more useful for particular genres. If you were to study his products and their progression, you would see that he was constantly learning and evolving his designs as the music styles and player demand evolved. John has taken over the guitar amp design work now that Randy retired. At 80 years old, he had earned the opportunity for some new adventures that didn't involve day to day obligations. I have designed several solid state guitar amps as well, mostly with tube preamps, and I haven't run into any limitations of solid state power amps, especially when they were designed with guitar amplification in mind. Some of these turned into commercial products, some are just stepping stones to other implementations of technology. Hope this helps explain my perspective.

https://www.ebay.co.uk/itm/116305703993?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=UaIM_rWSRjq&sssrc=4429486&ssuid=daj_hJ6fSo-&var=&widget_ver=artemis&media=COPY

He’s obviously possessed. He needs to see the path of the righteous (wo)man and how it is seeded with valid instruments rather than toy ones that are clearly the work of satanic imps

My evil brother kerps asking me why I haven't got a bass vi yet as it's 'the obviouscgap in your collection'. Apparently a Harley Benton is best as it hasn't got a 'tremelo bridge'. He says.