Leaderboard

In the early sixties we had ridden the trad boom and very soon our music would be pretty well totally eclipsed by rock. The four of us out of six lived in a series of Cheltenham flats or houses in Young Ones disorganisation. We read in the local paper that Gloucester’s Mayors Ball (Mayors had balls in those days!) couldn’t find a dance band. This gig was a big deal in those days, black tie, very formal. So we wrote to the organisers under The John Goodwin Ballroom Orchestra and offered to do the gig for a fat fee. Whether the organisers smelled a rat I don’t know but they wrote back ‘reluctantly’ accepting our offer but insisted that we provide continuous dance music for the duration, which I remember was in excess of four hours. We were a trad band so what was this dance music about? We’d have to do waltzes, quicksteps, Fox trots, old time and some ‘novelty’ stuff. Most of us could just about read but where could we find a library? As it happened a local band leader had recently died, so recently that the corpse probably wasn’t completely cold. But with the hubris that only the young have we went to see his grieving widow to express our condolences and, by the way, could we borrow his library? We drafted in a local baritone sax player and a pianist. So we were an eight piece dance band with a library. No time for a rehearsal but what could possibly go wrong? On the appointed day we formed up on the stage in Gloucester’s Guildhall and looked down on the Mayor his invited guests and all the assembled throng in their finery. We started the first number and the sound, nay noise, we produced was hideous, apalling, awful. Every few seconds the young piano player would emit a loud nervous laugh and, looking round, I could see all our faces were white, all the blood having drained. Anyway, we struggled through the first two hours with diminishing confidence and increasing disharmony until we left the piano and drums to it while the other six took a break and ‘fortified’ ourselves. We decided we were onto a complete loser and on our return to the stage we played a two hour Dixieland set. The hitherto rictus-set audience started to warm up and went crazy. What started as a mismatched disaster turned into a success. But it was a close thing, oh yes, very close.

I have tried a search for this, but I don't think it has been posted before (worth another watch if it has).

you're going to be pointed to look at... Line6 helix Zoom B3n when you remark at the price of the Helix a bundle of top end separate pedals for the folk that don't recommend the amp modelling route a sansamp someone will pop up telling you how good their Behringer DI is. It probably is. the IEM thread and probably some others.

On my basses a dying battery causes the sound to begin resembling a fart, and the output volume decreases. Perhaps others just experience the decrease in volume. Always best to put in a new battery at the beginning of the gig, if you are in any doubt. Unless you're gigging for three hours every night, batteries do last quite a while, but do remember to unplug the lead from your bass (after muting the amp) every time you stop playing for more than a few minutes. Active electronics are connected to the bass' socket, and when the lead's jack is in, it will power them and discharge the battery even if you're not playing.

Agreed. Why should Sandberg be immune from critical questions? Other manufacturers get their fill, so why not Sandberg? In this case I think it's justified.

I think Sandberg should put another filed zero fret behind the nut. Y'know, belt-and-braces. You can never have too many nuts on a neck, it seems.

Many years ago when I lived in Swindon, my blues-rock trio (Hendrix, Gary Moore, ZZ Top etc) had a booking at the Plessey Social Club... when we walked through the door, we lowered the average age in the room by about 40 years. As we set up, I could feel the glares from the light-&-bitter brigade burning holes in the back of my head. We had backline and a vocal PA only, nothing DI'd or miked up -- Steve the drummer was first to get set up, he sat down and picked up a stick and hit his snare drum ONCE... and I heard a croaky old voice from out in the shadows say, "ooh, it's a bit loud..." Predictably the first set was horrendous, every song met with almost total silence apart from a few “turn it down”s from some of the coffin-dodgers and one or two claps. One of them even walked right up to me mid-song, stuck his fingers in his ears and bellowed “It's TOO LOUD”. End of the first set couldn’t have come soon enough for me. When it did, the club MC asked if he could borrow one of our mics to do the bingo. Ye gods. Eventually we couldn’t put the second set off any longer and trudged to the stage. I was just putting my bass on when a woman approached me. I thought, if she tells me to turn it down I’m just going to pack up and sod off home. But she said cheerfully, “OK lads, all the old farts have buggered off, they only come for the bingo... you can turn it back up now”. So we did needless to say, the second set was a lot better and we never set foot in there again

Years ago I had a tape with 6 acoustic tracks by billy bragg on that someone had given me, including the only acoustic version of 'The Few' and a great version of 'tank park salute'. I lost the tape around 1996 when I moved to the states, and have been looking for versions of the few for year. The other day I thought I would have another look and found this, which includes 3 of those tracks, so I was really happy. I picked up a guitar and tried playing Tank Park Salute - found it still causes me problems trying to sing it clearly. My dad died in 1996, and it still brings everything back even after this time. One day I will play it somewhere!

Ah Swedemason, he's a clever dude. I like this one

Coincidence, I went on to put up a thread about going naked, and here one is We gigged on Sunday with my occasional duo. Beer festival where we were on last, the previous guy was still playing when we arrived and the place was packed, Little time to set up and minimal soundcheck and we were stuck in an alcove next to the smokers escape route on one side and the gents on the other. Tight enough space that people kept knocking into my bass which didn't enhance my timing. On top of that the acoustics were awful and we couldn't really hear the backline. Three songs in the landlady had a complaint about noise and asked us to turn down so we lost whatever balance I'd achieved earlier. We survived and the audience seemed to enjoy themselves but grrr.... So Monday was spent setting up with no backline, I thought my mate would spit his dummy out about his guitar 'sound' but he'd found that gig as stressful as I did and was happy to give it a go. I like to keep things simple live, so we went for using the same monitor mix as the audience mix. To be honest it was total bliss. The bass sounded great through the monitors, acoustic guitar was the best sound ever and thanks to a G1XON so did the few electric guitar parts. BV's were so much easier to judge when you know what the audience are hearing too, I can sit in just under the lead vocal with confidence now. With the mixer sitting between the monitors we can fix everything immediately and turning volume up/down needs just one twist of a knob. So what gave the great bass sound? Bass straight into the mixer and two Behringer 1320D floor monitors.

Branded Kay, made by Cort. Cort did a whole bunch of guitars & basses based around that through-neck template, all identifiable by the (rather sexy) triple dot brass inlays. These turn up branded Cort (obviously) but with plenty of other names - Targa, D'Agostino & Lotus are three that spring to mind. Speaking of which, I'd love to add one of these to my collection of neck-divey, symmetrical body, single-P basses that I never play: Cor(t) blimey!

I say no need to apologise. You're properly entitled to an opinion and your generosity of expertise is appreciated here :-)

TBH the relicing thing was a joke

COUCH PIC!! I am absolutely ecstatic, does anyone know how long shipping is to Ireland?

Pleased to say that I've had a refund from Stringbusters

I joined the two,pickup cavities on my Thunderbird build by drilling from both ends, 200mm long drill bit the angle meant that it was never a goer in one hit. I drew a pencil line between the two and followed that as far as possible. It worked perfectly but I did expect to have to mess around a bit. It’s not a way I would choose to do it though given an option. The ground wire hole was more nerve wracking as I worried that if I messed up there was small risk of it breaking out the back. As it was that went perfectly as well. Planning and measuring everything about ten times helped.

I'm not sure I'd abandon the idea, @Jimothey - it's more about taking steps to increase the chances of success and modifying expectations of how close you can get. I can't remember how much of the iron-on approach to veneering I've gone through recently, but once the bulk is on and attached, I then ease the edges round - using the hot iron as the shaper - as far as they will comfortably go and stick by using the iron to deform the veneer and then hold down with a cloth very firmly until the melted PVA has cooled and gripped. Some veneers are better at this than others because some will split more than others. Then, when I've bent it round all the edges as far as it will go, I then trim around the glue line and finally sand round the glue line. So my cautionary note is simply that the strip of veneer on the top horn will be thinner than on the example you show, because that is a wooden top sanded round and not a veneer. But you will be able to get it to curve part way round. The less extreme the curve, the more it will curve round. So, if you went for an oval carve on the horn rather than a cylindrical carve, then the veneer will cover more of the horn. Does that make any sense? The veneer itself generally isn't that expensive, so worst case is that you have to scrape it off. That's pretty easy - you just heat it up with an iron to soften the glue and use a decorator's scraper - if you use the right kind of PVA, this is completely repeatable in terms of re-melting and cooling. Then you've simply need to sand off the PVA residue and you are back to where you were.

I was so impressed with the products and their support of BC bass bashes, that they were the company I approached when setting up my repair/set up business. Have to say that the support for their dealers/traders is also exceptionally good.

Sounds like the ideal setup. Get everything loud and mushy, absolutely perfect!

Got booked for a private gig - 40th birthday party - but the chap said all his biker mates from his club would be there and we could expect 200+ people to be there. Arrived at the address he gave us for the venue and were a bit confused at first as we couldn't see and pubs, halls, hotels or anything that looked like a venue for a party - just a big council housing estate. He then comes out of his garden gate and calls us into his small back garden where he's just about managed to fit an old army mess tent for us to play in. We got to play for him and his immediate family (literally him, his wife, 2 kids and his elderly parents). Turns out he didn't even own a motorcycle let alone be in a biker club - or apparently have any friends. The low point of the evening (although only one of many) was when he got into a fist fight with one of his neighbours over the noise. The high point was watching his elderly parents slow dancing romantically and not letting the fact that we were playing Paranoid at the time put them off.

This video confirms what I've been trying to tell people for ages - those flat patch cables from EBS and Rockboard are very prone to noise in certain environments (skip to 22:46). Not seen those mini Ibanez ones before, they look great!

Cliff are round the corner from where I work, I could probably go round and pinch some from their stores haha

Although my involvement with CITES has been exporting Gillett basses, I wanted to contribute a couple of things that are relevant. First off, you need to be aware that certain types of rosewood are more stringently controlled than others. In fact, the Dalbergia genus (commonly referred to as 'rosewood') covered by the trade restrictions comprises 300 different species , and you need to know the species and origin of what you are importing or exporting in order to apply for a CITES permit. (Rosewood of Brazilian origin is the most tightly controlled, as that's where the degree of endangerment is most acute.) Secondly, the CITES regulations are global in scope but controlled by nominated managing agents in each individual country. In the UK you have two options (see below - sorry about the formatting!). I deal with APHA in Bristol, as they are just up the road, but they are extremely helpful on the phone. Option 1. Elaine Kendall Head of CITES Policy team Department for Environment, Food and Rural Affairs (Defra) Natural Environment Policy Floor 2 Horizon House Deanery Road, BRISTOL BS1 5AH Email: cites.ukma @ defra.gsi.gov.uk (For queries about CITES permits, please contact the Animal and Plant Health Agency at: wildlife.licensing @ apha.gsi.gov.uk; tel +44(0)117 372 3700. Full contact details are at (2) below.) Website: http://www.gov.uk/cites-controls-import-and-export-of-protected-species Last update: 23/02/17 Competent to grant permits / Competente para conceder permisos / Compétent pour délivrer les permis Option 2. Animal and Plant Health Agency (APHA) Centre for International Trade - Bristol Floor 3 Horizon House Deanery Road, BRISTOL BS1 5AH Tel: +44 (117) 372 37 00* Fax: +44 (208) 415 25 10 Email: wildlife.licensing @ apha.gsi.gov.uk Website: http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ (Last update: 23/02/17) Sorry if this is too much information - it took me a lot of time to research the subject and this is just a summary! Scrumpymike

DR Sunbeams. They are good enough strings but not a lot of difference to the D'addario's EXL190 i was using. That's just a personal opinion of course and others may well disagree.

Thanks Mark! Seriously? I'm kinda glad I jumped to it then! It should still be on Wunjo's website, though, and if you pick up the phone to the Yammy centre you may get them to match the price. Just a thought

That spliced together 'rap' is astonishing. How much footage did the guy watch in order to put that together?

It sends emails...........thought of that and the band admin can enter on their behalf and send them a confirmation

No. 3/32 inch to 5 dp is 2.38125 1 inch = 25.4mm (to one dp) think you have the 3 and 8 switched in your answer, 2.8313 mm is approx 3.57/32

What about this?

If it seems pretty daunting, as you say, then finding a decent guitar tech is the answer. That said if you take it slowly and methodically there is no reason why you can't do it yourself and it is very satisfying doing your own setups.

Two things would stop me being interested - country, and western.

Sounds like the famous chicken wire scene in The Blues Brothers!

A bit less snark would be nice, too

That looks great. Not sure about the bloke with the stapler though lol 🎸

These are the specs I have provisionally agreed a couple of weeks back with Tom at COG. Fixed HPF with 12dB cut at 28 Hz Variable 12dB cut at HPF 20Hz to 400Hz (to deliver the desired 24dB HPF cut at 28Hz and below with a combination of the fixed and variable HPF) Variable LPF 12dB cut at 700Hz to 14kHz Two true bypass switches: one for the two HPF filters, a second one for the single LPF filter; and Volume control to add +20db (to compensate, if required, for the effect of the cut being caused by engaging the filters) With the unit housed in a 1590BS (11.2cm x 6.0cm x 3.8cm) ... although I've had radio silence for a couple of weeks from Tom which is always a little frustrating, but I guess he's busy. What do folk think about the spec? Any other folks interested in getting something like this? @Bigwan - something you could put together? If so, please PM me with your thoughts on pricing (I can't be doing with waiting for Tom to get back to me forever )

Mistake #1 - he bought it Mistake #2 - he played it Mistake #3 - he left his camera on autofocus What do I win?

My old 'the black beast' And my new 'the black beast II'