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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.

Welcome Jonny.

Monophonic synths often have much more in the way of timbral and modulation possibilities, partly due to the fact that you can stack up a bunch of oscillators on one note and it will sound great; if you stack up too many fat voices in poly it gets a bit overwhelming. Monophonic is great for lead and bass sounds. Polyphonic is more for textural or chordal stuff. Polysynths don’t always do bass as well as monosynths.

https://www.ebay.co.uk/itm/Yamaha-bex-4-hollow-body-bass-guitar/152848038036?hash=item239673f894:g:0l0AAOSw9idaEHUW

I like very much...very Spector/ Streamer-like.

It is a tricky one, Paul. Most of the 1977/early era punk is just great pop songs, Buzzcocks, Blondie, Undertones to name but a few. Considering the material by The Exploited, GBH, Partisans etc it`s sometimes baffling how it`s all part of the same genre as they`re so different.

Been there, done that, tee-shirt etc... It's the first forty years that are the worst, after which things sometimes tend to get slightly better.

I reckon our MD could come up with a brilliant horns-heavy arrangement for Dancing Queen. I'd love to do it, it has a fabulous bassline. And talk about a guaranteed floor filler..!

Yes. I'd also consider looking for an Orange Terror Bass 500 if I were you (£300 - £350 used). Along with Ashdown ABMs these are the best amps I've owned. Have a nice grind in the preamp. EQ isn't especially powerful, and some would say they are a one trick pony, but it's a really, REALLY good trick! And they're RIDICULOUSLY loud...

I always try and be polite to requestors, lord knows I'd never do it to a band, but I think it's OK from the general populous. Sometimes you get lucky and you do actually know the song! My caveat with it though is that they wait until you've finished the song your currently playing. Nothing bugs me more on a gig than some p1ssed up punter/puntress trying to shout in your ear when you're mid-song, 'Tell you what mate/love, how about I come down to where you work on Monday and shout in your ear while your working?'

I wouldn't bother with a pre-amp pedal. Put the money towards a decent head, which will have a good pre on board. As far as recommednations is concerned, you need to go and audition a few to see what works for you. One man's meat and all that.

Thanks for the recommendations all, i’ll check them out

Our B/L would say, “We'll learn it for next time.” Which, since we did a lot of weddings, seemed to show very little faith in the bride and groom’s chances!

Very cunning - i thought i had you foxed

Utter crap. That's what sort of music we play. It's good fun to play, but it sounds bloody awful. Still no idea why we're doing a gig, but it'll be good to see folks faces.

I have a Jackson Dave ellefson bass that has been my number one bass for years I'm not interested in signature basses but the Jackson ticks all the boxes for me just wish it was slightly lighter not that it's that heavy

It's really nothing different in the true sense - it's still just a pink Jazz (50+ years old), with a different/Stingray-cloned pickup option. I do wonder whether people are in love with the shape or that it might sound like a Stingray (that pickup could just be a P-bass one under the cover), because there's nothing radically new about it - Sandberg have been doing similar stuff for yonks. The guitar business is all so incestuous; limited designs and everyone copying everyone else. In reality, no one is producing anything that's really unique and for that reason it's disappointing. When was the last time anyone really saw a production instrument, that bucked Fender or Gibson designs, that was new and truly head turning? Kubicki Ex-Factor? Maybe a Spector NS2. Something by Status? Steinberg?

Vintage - I`ve been very impressed with the Tony Butler Signature Precision I picked up recently. Just think the name makes looking for instruments a bit difficult, vintage bass, vintage guitar etc, end up with any old pony bit of gear.

Leave it to rest overnight he says... well, the nitro feels solid so let’s just sand it lightly, yeah all good. Maybe I’ll just put the tuners on, it’s getting late but well you know... Oh I may as well do the string tree too... oh sod it lets just assemble the thing!! I’ll put a better photo up tomorrow in natural light, but oh my god it’s gorgeous! I’m super delighted with it and can’t stop looking at it. I did wonder at the outset if I was going to bugger up a perfectly good Harley Benton bass guitar with my lack of experience in performing the modifications I envisaged, but I’m thrilled and so glad I did it. Like my Bruno Bass build I've learnt heaps and loved every minute of the process. Bring on the next project!

Morning! Yes we’re getting there. The newly painted scratchplate is looking great! Thanks for the steer on the ashtray - much appreciated 👍🏻

I did a review video of the bass, the day I received it. There’s a NBD thread here: and the video review here:

I love Zodiacs, I have five of them now! Weirdly enough the white and rosewood ones are the lightest, have the thinnest necks and a less deep sound. The bridges are poor quality pressed steel which will eventually cause your strings to break if you play super hard like me. If you replace it with another metal it'll make the tone noticeably less bright. They look nice with hipshot kickass bridges, and if you get the steel saddle inserts it will sound very close to the original bridge

As well as being reliably spot-on, skank's response hints at how things have changed in the last few decades. It seems that we've moved away from a time when the single reliable measure of success was "the charts." Getting a song or album to cause a small ripple in the appropriate Top 40 would have been a good indicator of an early success; being able to follow that up would indicate that you were more than just a "one hit wonder." Trouble is, now that everyone takes their music differently - whether buying physical reproductions, paying for downloads, not paying for downloads, paying for streaming, finding free streams, or just good old-fashioned shoplifting - it's much harder to put a single measure on success. Streaming has only recently been added to physical sales and downloads as a measure for The Charts, and even then in a fairly arbitrary and clumsy fashion. But with this, of course, it now seems more acceptable - indeed, more sensible - not to desire the old trappings of fame as a musician. Most of us have accepted that a Los Angeles penthouse with booze, drugs and groupies available via Deliveroo is greedy, puerile, and unrealistic, and would settle instead for our music being sufficiently important to enough people that we could make a steady income from it. Steve Lawson is the first example who springs to mind, of somebody who has embraced a different, more low-key model of success, and seems to make a comfortable living from a loyal following and a healthy ratio of fingers to pies.

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We've seen these before but they are definitely worth seeing again... It's my NS5 by the way