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So, with the missing knob arrived, final finished pics As always, thanks for the fantastic support and tips and tricks you have all generously given along the way

You should like Rick Wakeman for this alone ......

In the end, it's your choice whether you have a car or not, and it's the band's choice whether they are willing to take on a member who doesn't drive. For some bands, that won't matter, for others it will be a deal breaker.

Back in the early '70's, I played in my first band. We had a set list of 28 songs, 18 of which were Wishbone Ash numbers. It would be fair to say that we were a Wishbone tribute band. Anyhow, we split up around 1978 and having not seen some of the guys for 40 years, we're having a reunion jam in Glasgow on 3rd February. Last night, I contacted Tim Brown, the drummer with Martin Turner plays the music of Wishbone Ash, ( A legal complication with the name) to find out what strings he uses on his Thunderbird. Tim was kind enough to get back to me this morning with the info I required. I just want to give Tim a big up for being a thoroughly nice chap and a great drummer.

Try these guys. They recovered my bassman and did a really great job. They could build you one http://www.zillacabs.com/

I'm lovin' the Aria. If you score any Matsumoku made bass in excellent condition as you have, you really can't go wrong.

I would say that the only responsibility the house band has is to hand you an instrument that is in tune. That's not cast in stone either. I'd love to agree with you though. I've done an Open Mic where I've been caught out by an insistence that I play the house bass despite having my own with me. I was stood in the wrong spot for the monitor too because the cable was short and routed badly. I was more crap than usual because of it so I get your point. Next time I went to that pub it was with @PaulWarningand Wendy as their guest. I suppose because we appeared as a trio for the first few numbers I didn't get pressed into using the house bass. I was still rubbish but I felt much more capable and probably sounded a bit better too. When I came away I revised my ideas about these sorts of sessions. Like yourself, I will always want to play my own bass but I am ready to go regardless. Getting asked to step up when you aren't ready is also something I have experienced. It didn't go very well but it won me the notoriety of a short piece of video on twitter when someone kindly clipped out a relatively botch-free part of my meagre effort. I did have my own bass for that but I could just as easily been handed the house bass. My point is that you can't predict what you'll be given but you are expected to make do. I see it as a necessary part of my development on my way to becoming a well-rounded player to meet these circumstance and cope. 'standard set-up' - what is that anyway? We had a thread a while ago where BC members compared action at the 12 fret. I'm still trying to pick the bones out of that one. Oh yes, OT; my housemate gave me a lift to the local OMs and I got a taxi home each time. @Len_derby was kind enough to invite me and give me a lift to the other OM out of town. Last year was the busiest bass year I've had. That's not saying a lot by average standards but it is a booster for my timid ego. This year I aim to build on it. No car though. Wish me luck.

Art is not the artist. go back 100 years and it’s likely every piece of art was made by a racist. Another few and you’ll find slavers.

I'm supposed to be working on a grant so that I have a job next year, but I decided to make another coffee and distract myself a little and tell you all a story. Grab a mug, it's still warm. Last August, I bought my girlfriend a bass. She's a beginner, but very much into bass. She already had a bass, but there were a number of things she didn't like enough about it. She of course has tried all of mine, and she cannot really describe to me what it is she likes... but when she feels it, she knows. I did all I could to that bass to make it play and sound nice, but it was not quite right. From time to time she shows me pictures of basses she's seen on shop windows etc. But one day in June she shows me this one. She really liked this one. How do I know she really liked it? Because this time, she went in, and asked to try it, and played with it with other people around! She's extremely shy to play in front of anybody. She first loved the way it looked, but then... it felt great, it was very light and comfy, and she was seriously considering going back to buy it after pay day. I didn't show any interest beyond the usual, and didn't ask about the shop but I recognised it. Next opportunity I got, I went to the shop, tried the bass and bought it. Lucky for me, it was not a Wal, but a Squier P/J, Standard range. It was very nice, it just needed to be cleaned up a bit and new strings etc. She never mentioned the bass again... and I thought I had made a mistake and she really didn't want it that much. Then I smiled "cool, I like this bass, I'll keep it if she doesn't want it!" Her birthday was in August... and I gave it to her. She cried. I thought I was in trouble... especially when she yelled at me "I hate you!"... but then she laughed. She said she avoided looking into that shop until she got paid, just in case it was gone. After she got paid she went and... no bass. She went inside, looked around... nope, it was sold. She was very disappointed, and kicked herself for having waited... and decided to push it away from her mind because it was upsetting to have found one bass she really liked everything about and she let it pass. Ok, phew... so she liked the bass. But she didn't like the strings I put. I put some Rotosounds I had, as she had not tried those, and I figured they would do until she finds the strings she likes... and the search for new strings started seriously. We tried a few on her other bass, but she didn't seem to have much of a preference. However, this bass was different for her. She has finally decided she knows what strings she wants to try. Over the past few months I've tried various types on various basses, and she's tested them all, plus I have a few others that I've accumulated in the past couple of years... and she has decided that there was one set of strings that she really really really liked above anything else. Labella white nylon tapewound strings, which is incidentally my most expensive set. It couldn't be the £11 Warwick red label ones, could it!? But it was a good choice. What a difference did they make!!! The bass sounded nice before, but she loves it now, and how it plays... and as a result she's playing the thing constantly now. Strings... so often overlooked, yet so important. Now I'll have to buy myself another set. I hope she doesn't think of trying the same strings on her other bass now

Got this monster last week. I've been playing a 6 string fretless I built in 2001 so it's weird having frets again! The 35" scale length is certainly noticeable for my relatively small hands, much more so than the extra width of the neck, also the increased string tension that that brings. Sounds great though and I'm really enjoying it.

Wow! Really nice Spector and a lovely bit of firewood! [JOKE]

I had the honour of releasing a compilation of his early work for a record company I worked for many years back, and got to meet him at the launch of the London concert celebrating the 1st anniversary of Nelson Mandela's release. The launch was held in South Africa House on Trafalgar Square, for years the target of anti apartheid protest. When the launch came to an end, Masekela along with Miriam Makeba got to his feet, and they performed an impromptu Nkosi Sikelel' iAfrika. It was the most moving musical experience of my life.

Not at all!

No, having a car doesn't trump all the other things, but having the ability to independently get to any gig anywhere could be an important consideration especially if the band members are scattered over a wide area. You may be responsible and willing to do what it takes to make it, but if they don't know you well enough, to them is just another musician promising things... and let's face it, 'musicians' at the level we're talking about include a lot of unreliable people. Perhaps they already suffered and decided to make sure it won't happen again. If there's a lot of travelling involved, and one member is *never* going to be able to drive... that may not be very attractive in some bands. Sometimes, after certain gigs, some people may want to stay, others leave, others go elsewhere... knowing from the start that someone HAS to look after a given member every single time, may be enough to want to look for another player who can provide the same skill, enthusiasm, etc... but also have their own transport. A band I was playing in, we were 8 members, and only two did not drive, with a third who had limited access to a car. It was easy to figure out travel. However, one of the non drivers in particular started to bring his girlfriend to every single gig. Several times it meant bringing one extra car just because of having an extra person... that reduces the income from the gig for everybody, as well as the extra hassle for the person who ends up driving... I think non-drivers often don't fully appreciate what it means for those who drive you around, in terms of time, energy, cost (there's a lot more to cars than petrol)... The time I damaged my exhaust driving onto a festival site because I was carrying an amplifier for somebody else (I would have left my car somewhere else otherwise), I was not very happy. I was ultimately responsible, but guess who never runs risks like that? You got it. In many cases for many bands it does not matter, but on some bands travelling may be a bit more critical and if you cannot help with your share of driving, you may not look as a suitable candidate. It really depends on the band. I wouldn't be bitter about not being chosen by that band you auditioned for. They clearly know what they wanted, and unfortunately you weren't quite it, for non-musical reason. Hey, others don't make it because of their age, or hair, or... It's tough out there.

No worries, so am I

Deal completed within 5 hours of first contact... Richardd is possibly my favourite basschatter. Great person to deal with all round. Thank you Richardd!

You're doing it the right way.

Hi BC'ers, I've seen this amazing vintage style 19" rack head for my 3U amp but the problem is its in the US. The cost is about £135 but with shipping, import duty, and vat it's getting to be prohibitive. http://stagecraftgear.com/product-category/rack-cases/rack-heads/ Can anybody recommend someone local or maybe someone has a s/h one to sell (unlikely). Thanks

Here's a bit of a crazy idea re home made knobs. It seems really hard to find bushings to insert with an internal spline to use with standard pots - I believe the spec is T18 - or T24 for the fine splined knobs that I think CTS use (just to be awkward). However I did find these https://www.thonk.co.uk/shop/knob-insert-for-diy-knobs/ ...though these are splined on the outside (and not the inside) to fit into a hole, and have a set screw - so you could use these on smooth shaft pots with the flat on the side. They may well work on normal splined shafts as well given the set screw would lock on to the shaft OK. Then I saw they also sell these "micro knobs" https://www.thonk.co.uk/shop/micro-knobs/ ... which are set up to go on a T18 splined shaft. So in theory you could drill a hole the outer dimension of the knob and then glue the whole knob into the wooden outer casing. A couple of strokes of the hacksaw to score the knob to give the glue something to really grip into and it should be pretty solid. That doersn't help with the fine splined T24 style pots though. R

Great suggestions guys! I like Motu stuff, but seeing that I recently raided my already fairly limited budget, it's a tad pricey. The 18 inputs of the Midas look very appealing, though I wonder how it would handle without a tablet. Truth be told, I wish it were a little more straightforward, but I'm definitely checking it out!

So nice. Top work, as ever.

Trying to find you some polyester examples!

ok, new bass demo.... but even more interestingly... a ring modulator. i have never seen a demo like this in my life!!!!

I think a lot of musicians mellow out once they grow up, they just settle into being reasonable chaps who mostly realise they have been extremely lucky to have had a successful career in music. Having said that there are plenty of exceptions and then there's John Lydon who remains as acerbic as ever and, frankly, long may it last.

I was involved in a a fairly unpleasant motorcycle accident (for which the other driver was wholly responsible, and admitted so in court) which left me very twitchy about driving when I was able to do so again. I had a course of CBT which I was very sceptical about, but which turned out to be very beneficial.

Surely the make-do, cobbled-together look IS the essence of 'Rickness'? Rrrowl!

I’M BRIAN! YEAH, I’M BRIAN TOO

Just had a listen and I make it out to be this (see pic)

Yep, me bootleg.

The problem you're facing, unfortunately, is that a lot of bands have had experience of a non-driving member who is considerably less dedicated and reliable than you are, and like most of us, operate on the 'once bitten, twice shy' approach, which may well result in them rejecting an ideal musician because they have had times when an excellent player is simply not there because of transport issues. The ideal situation is to play locally and be able to simply carry your gear there, though if you need an amp, that won't be easy. I have personal experience of two bands with non-driving drummers, one split fairly quickly as the drummer often faced to turn up at rehearsals, and the other is teetering on the brink of collapse. Having a car doesn't mean you can always get there on time, either - traffic, breakdowns, accidents...but it is usually the best way to minimise chances of missing a rehearsal or a gig.

Andy, this is how I do mine (near bottom of page): It's not a very flexible system because you are limited to the size of the cutter (19mm diameter) in this case, and they are not always 100‰ wobble free, but if you are ever in Nottingham and want to give it a go just let me know.... It probably takes an hour or so....

Being able to turn up and play with minimum fuss counts for a hell of a lot. Because the hobbyist will be being ferried about by another hobbyist who is potentially now finding it less of a hobby.

Bought Peter's 'Script' Phase 90. Pedal was extremely well packaged, is in immaculate condition, and works perfectly. Excellent, hassle-free transaction. Well recommended. Thanks again, Peter

I probably wouldn't listen to the material but I'd have to say 'Rock and Roll (Parts 1 & 2)' would feel more acceptable than 'Do You Want to Touch Me'.

Yup, can't disagree with that! Here's mine, beautifully refinished by @Grangur of this estate. Maybe you should let him loose on yours, too, and he'll be able to turn it into something worth nearer £400 rather than £40?

I confirm a perfect seller, good to deal with, perfect communication! Really thanks!

Personally I'd be put of listening to anyone with Gary Gilters rap (I did see him live 3 times and loved the shows). Having said that I know you can take this to any level you like regarding the behaviour of an artist or sportsperson etc so I'd not judge anyone who still listens to glitter just because it puts me off his music Listening to someone doesn't make you like them after all Also , I'm not sure if his band get anything out of sales etc but it's a shame for the band they also have been written off by many . I suppose it's like one hit wonders who where on TOTP with Savile , they'll never get aired again on reruns despite it not being their fault

A new bass cures GAS like vodka cures alcoholism.

Lake Placid Blue! Yay! ..and tort. Wut?

she has great taste in men too, apparently

Awaiting for mine.