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Here’s the end result - what a stunner!!!

I always liked Howlin' Wilf, although he wasn't really a tribute act.

The basic carve of the body is almost done. Just got to take a bit of thickness off the back of the lower bout and then I'll move to the neck. I'll finish sand it all at the same time. From the view above, it looks pretty conventional. But this gives a hint that it's not quite... :

Punter came up and handed me a slip of paper once, with a request on it. At the end of the song, I announced "We've had a request from one of you lovely people, it's for a song called...", I unfolded the paper and read, "...'youre crap, pack up and fk off'..." Nah, not really. But it's only a matter of time till it does happen.

Further to my last, as they say. Just found a snap of my 7er.

I always thought masonic ladies were known as maisonettes

EBS_freak, great questions. We're at the Summer NAMM show this week, so please give us a bit of time to respond.

Dread Zeppelin are real. And awesome.

I'd suggest you are not driving the existing 4x10 sufficiently. Buying a better cab will not change anything if you are still using an inadequate head (I would imagine a Behringer amp taken from a combo will not have much power). Upgrade the amp and continue to borrow the Hartke for now would be my advice.

We'll do pretty much any request as long as it's from the 20th century. Any requests for Kings of Leon, Arctic Monkeys, etc. receive a good telling off

We do abba, so that is why that doesn't cause a problem for us. One of the heavy songs, I use the full distortion for that one. We get that quite a bit. People get a bit annoyed with me - "Do you do any oasis", "Who?", "Oasis!", "Sorry mate, never heard of them", "Dont be stupid, you know - lateleeeey.. gonna be the one that saves meeeeee...", "Nah sorry, doesn't ring a bell". I really really detest oasis! On the other hand, one guy at the last gig was really insistant we should do Hazel O'Conner 'will you'. Doesn't strike me as a good song for a party / dancy band like us.

Hi All, We've caught wind of this discussion and wanted to chime in a bit more "officially". First off, we're thrilled about the enthusiasm and the discussion here regarding our latest model, the N8. Keep it coming and we'll do our best to chime in as-needed. The response above is accurate. We wanted to provide a bit more context: Often times the recommended minimum impedance is stated for damping factor reasons, frequency response reasons, or as a precaution. Whatever the case may be for why Shure stated 9 ohms in its specs, the results of the tests we conducted show otherwise. We have tested the N8 with both the Shure P9RA and the Sennheiser G3 EK 300. Both body packs drive the iem well with no problems. The output impedance of both packs is on the lower side so they are able to provide MORE than enough juice should you choose. Neither of the packs presented any "cutting-out" or went into any over-current protection modes, etc... We were impressed, so we decided to try an artificial 4 ohm load as well. The results were the same. Both packs remained stable and were able to drive the 4 ohm load with no problem. The THD stayed low at an impressive 0.01% on the Sennheiser and 0.04% on the Shure. The voltage across the load was 1.9 on the Sennheiser and 1.55 on the Shure. Driving the N8 "as is" with either of those two body packs should not be a problem based on our tests. Also, we beta tested the N8s over the last few months with a number of people (including Nathan East himself) and there were no reports of any issues related to driving the iem with any of their amps, phones, body packs, and other devices. We're all ears so please keep the feedback and questions coming!

Seen this a few times in the last couple of days. Fortunately, if you look closely, in the text of the fob-off the word "listing" is actually a link back to the original item. Still a frustrating pain in the ar$e though. I'm guessing there's a rationale behind this, not including an obvious link & making the actual link inconspicuous, but it's anyone's guess what it is. Just another step in the ongoing process of making Ebay hostile, awkward, unintuitive and irritating.

We regularly announce songs as requests , it engages the punters quite well cos although we might not have time to do all the requests , at least they know we are trying , we get away with as long as they don't see the set list 😉

Both types, country and western

I like it.

We only play requests when we’re asked.

Last Saturday we'd just finished playing Don't Stop by Fleetwood Mac when a rather drunk punter asked us if we knew any Fleetwood Mac.

Recording the gigs and playing back afterwards can be a useful tool - sometimes people don't realise quite how fast they are playing.

Couldn't find a Spector thread so........

I remember WaterOfTyne once mentioning that there was a local tribute act named Joanne Joanne (it really needs a Geordie accent) and I've always kept an eye out for tribute bands with names that crack me up. I've just seen that a local club (Tropic Of Ruislip) has next month the band SNOG - a tribute to Kiss.

You don't know what you're missing. Take some lessons. Go on you know you wanna. Dave

How's that even possible? There are no bolts to show... 😂🤣

@dood - Yes - you need to lift pin 3 on the two XLR jacks that you put into the mixer. Been there done that - I've made up some cables for a band that was having such difficulties! With regard to the your comment about XLR to TRS - it holds for the QSC touchmix mixers - I'll put a pic in below. http://portalnaglosnieniowy.eu/images/stories/Prezentacje/QSC-TouchMix16-OS3/QSC-TouchMix16-OS3-10-stereo-mono-AUX-7-10.png If you check this pic, (for some reason it's not automatically converting it to a pic to show in the post), you'll see that it's got a TRS jack socket for auxes 7/8 and 9/10. Effectively this is an unbalanced stereo out... so using a single TRS jack to XLR will give you a stereo mix on the Fischer/P2... but granted, this is not overly common for a mixer! Most mixers will either be a mono balanced TRS jack output per channel, or a standard XLR balanced out per channel - in both cases you would expect to need two to give you a stereo feed, either balanced... or non balanced with "the special lead". With the QSC Touchmix mixers, if you were to use the auxes on the back, you would have to use "the special lead" - as they are balanced XLR (unlike the ones that are on the front of the unit as shown above). So... in summary, two balanced XLRs would need to be summed to a single unbalanced stereo XLR. It's an abuse of the cables really - as I'm a bit of a believer that a XLR should always be balanced and mono (unless its the 5 pin variant that breaks out into 2 2 pin mono XLRs)... but hey, it does the job I guess. So for the QSC, that adapter that I posted a few posts above, works nicely... take a XLR cable, stick the adapter on the end and plug that into the QSC and the other end into your monitoring stick... job done... but you are lugging around less cables and it's a standard XLR cable you are carrying around. I would urge people that are making up a Y adapter, to not make a long cable... that way, you just have a Y cable (or pair if you want to keep a spare) and into that you can plug a standard XLR... which should be readily available at a gig. I'm always a firm believer that carrying around custom cables is a nightmare waiting to happen when that cable breaks... especially if it's a cable that is going to be moving around with your and will subsequently have a higher chance of breaking/being stepped on etc. Anyway... most mixers will either be a mono balanced TRS jack output, or a standard XLR balanced out - in both cases you would expect to need two to give you a stereo feed, either balanced - or non balanced with "the special lead". The QSC is one exception. I *think* that makes sense.... 😛 (especially now that I've edited to be more coherent! )

Cheers Spondonbassed (Suzuki fan?) No............... I'm Dad/agent/roadie/mug/basstech/amptech/soundman/mug/rehearsal manager/fan/mug/Dad

You've cut most of it out of the picture. Take a good few steps back son... and get a wider lens.

Add the Ashdown ABM 400 in the classifieds at the minute (bit over budget but that's what we're here for!) and that'd be a stonking rig! Lightweight gear is all the rage at the minute (and has been for a few years) so you'll find that heavier gear is pretty cheap...

If you can manage a 610 then I have a pretty decent one for sale - shameless plug - an Ashdown RM610 at £350.

I spot faced the top on my Pit Bull to get all of the control spindles parallel to each other and to conceal the nuts where they would otherwise show beneath the skirts of the control knobs. The "floor" of the control cavity was flat and I found it easier to leave it that way than trying to match the top's contour. I wondered how it would be to have the each of the spindles perpendicular to where they are located on the curve of the top. On mine the curve isn't so pronounced and would not be worth the extra work but I reckon it's going to look great on yours. I've learned a great deal from you on this topic. What you say about grit sizes above is really helpful. I always wondered why my sanding technique started off looking good but then went backwards with the finer grits. Cool headstock. It's the bits.

My Creedence Clearwater Revival tribute did "a night of CCR tunes" (obviously) at a pub in Wantage. One drunken punter kept coming up and asking if we knew any Oasis! Bizarrely we'd wind up launching straight into Green River or Have You Ever Seen the Rain, only for him to be completely happy once the music started up again.

Neopixels are ws2812bs - basically a 5050 RGB addressable LED (so basically 3 LEDs in one that are blendable to achieve your desired tone)

I love it to be honest, people ask me if I ever get bored. But it's a stonkingly good show (even though I'm probably a tad biased) - www.facebook.com/faithgmlegacy But every now and again I play with numerous function bands, I get to play with some other tributes too, festival season is always fun. Then on top of that I've got my studio session work. I've done acoustic duo before, can't remember my last duo gig which is a shame because I really enjoy them! Just boils down to time really.

Flat keys, mainly. For the brass players. As you were.

http://www.nme.com/news/music still available on that t'internet thing , you auldies need to savvy up , 😉 Chrimbo I tell ya , fill yer stockings 🍻

Believe some of it 😮 I'll have you know I'm using all of it as references looking for my next 2 album deal . It will be front page NME before chrimbo dudes 😇 😎 🍾

Got myself a 3D Scanner today... Didn't have to think too long about the first thing to scan....

I guess hearing my back catalogue is what inspired you to join basschat 😏 you have a refined ear my friend 👌

Agreed, he sounds like a twonk.

+1 for the Vintage stuff. Had a V4 as a spare which I regret selling - was a bit heavy though.

Wilkinson Jazz pickups - got a pair in my fretless and they’re amazing; they sound like they cost ten times their price.

Beautiful

I took the new bass to rehearsal last night to see how it sounded through my gig rig. It sounds amazing at home; I spent a long time thumping around with the tone rolled off when I should’ve been working, but at gig volume with the tone up and the band in full flow it didn’t really cut it. I know it’s not really a ‘rock’ bass but despite a bit of eq’ing I couldn’t really get it to poke through the mix like my Jazz does. I’d really like to gig it (despite it’s not inconsiderable weight - 9.5lb) so I’m thinking of maybe putting something like a Quarter Pounder in. I’m not sure if this would help. I’ve got to get the terrible wiring sorted too... Here she is with her big brother - aah.

The decal arrived today, so I applied that this afternoon. Rothko & Frost have again supplied a high quality product at a fair price and with good service. I know others have had less successful experiences with them but I have no complaints, perhaps I’ve been lucky or they’ve been unlucky? Anyway, it looks great. I chose silver for the main part of the logo as I knew I’d be putting a mist coat of amber tint on it which would golden it up a bit. I signed and numbered the back of the headstock again too, as with the Bruno bass I recently completed. My little daughter Dulcie for whom the bass is named didn’t sign it, like her big brother did on his namesake instrument; she can’t hold a pen yet! I don’t think I’m going to bother clear coating or polishing, the nitro has buried the decal and hidden the edges well and looks nice and vintage, so I think I’ll just leave it as it is and see how it wears / ages naturally. In retrospect it’s just slightly darker than I’d have preferred; next time I’ll do fewer coats of tint before adding the decal, or use clear nitro for the final coats. I’ll let it rest overnight, give it a very light sanding tomorrow, reassemble the bass and hopefully give it a go at band rehearsals tomorrow.

Loving the old school monitor!

[quote name='P-ZARN' timestamp='1419202340' post='2637630'] Thought it might be time to show the current collection. [/quote] I think it might be time to show that pic a bit bigger! Liking the NS4 very much...