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Halfway through my little stint depping with the Stones covers band. Three down, three to go! All went well. Loads of people in and all seemed to be thoroughly enjoying it..including a few die hard Stones fans, wearing all the appropriate gear.🙂 Many thanks to our own KevB for coming along! Really nice to catch up. A good friend (also a muso) was kind enough to give me a lift in his van and help me load in and out which was much appreciated. On the way home, we stopped for a curry which I paid for out of my earnings for the night. My friend declared this made me a proper musician at last. Another milestone reached! 😎

I am finally there and 100% happy. Barefaced 6x10 is mighty sounding and super light. Aguilar DB751 same but not light. Fender P ‘69 or ‘64 depending on rotation. Incredible sound and people always comment how good it is, so must be doing something right.

I like this one but fear our lead guitarist may take it too seriously

It means that, given a starting point (a note..?) the possible 'harmonically correct' notes are calculated, such as root to fifth, or root to third etc. These 'note choices are then sorted in order of preference; as suggested next note to play. This 'next note' is then, in turn, used to suggest a third note, and so on. The 'harmonically correct' part stems from music theory; the preference ranking, too, is based on well-accepted principles. All of this is based on music theory anyway, and so one's own studies would tend to confirm the suggestions made. It would, potentially, save time over working out theoretical note choices from scratch for those wishing to compose using these 'standard' guide lines. Most experienced composers would have this type of reasoning ingrained from their own experience and studies, but it could help either those starting out, or those wishing to 'break the mould of habit' and see what alternatives could be used. Not for everyone, maybe, but an interesting exercise in combining music theory and programming skills. That, in itself, is no mean feat. Some folks climb mountains for fun, others like scuba diving. To each their own pleasures in life. Subject to completion, correction and/or contradiction from others; hope this helps.

LOL Looked at this a few times and I think it has been pretty much nailed! 'Personally' I feel the pre 91 basses were generally made from/of better quality woods and materials (other than the chocolate output jacks... buy a Switchcraft and be done with it). Why W can't role the fingerboard edges on new basses is beyond me mind, that would make such a difference. Electrics are pretty much standard now, though I did prefer it when you could have EMG, MEC, Bart, SD even Alembic. Neck profiles are so personal that it's a case of meat/poison; I have to admit to having some pretty skinny neck Wicks but also possess a very full (maple) necked 07 NT Corvette and I love the feel. I agree the whole catalogue is pretty messed up and dilution of the brand has occurred. Replaceable truss rods were a good thing BUT you shouldn't need to do it anyway and tbh the stories grow bigger in the telling, I've had basses with issues (2 out of 40+... is that good/bad ratio) but all are fixable (unlike some manufacturers). Oh and one shouldn't place 'too' much faith in the official emails/info supplied by Warwick... it may not contain 100% accurate info. Finally, never buy a new Warwick; you may as well drive down your street throwing tenners out the window.

Loving this thread. I did not realise that people still liked Warwicks apart from handful of us. Nothing sounds like a Warwick and this thread has made me want to gig my Thumb next weekend.

A friend of mine does the same to his Marshall cabs. The ply they used in the 70s and 80s was nicely grained, finished in a satin finish they look more like a piece of furniture than musical equipment. Peterson have the right idea.

Not much of a start but this is the wood I have in for these builds, messy workshop, I will have a good clean up before I start work again. I'm going to call CapitalCrispin on Monday and see what they can do in the way of constructional veneers for use as contrasting laminates in the neck. Gibson use Walnut or black Walnut as it's known over here but I'm tempted to go for something like Beech or Maple/Sycamore. Again Gibson use four Walnut laminates, I think I'm going to add another one dead centre to make it a total of 11 laminates for the centre section So without further ado.... the wood!! Doesn't look like three new basses does it?

Now then, I know what some of you are thinking. You're thinking - 'Yes - 25 feet is a tighter curve than you imagine. And surely he's going to run out of wood to get that X-brace to fit?' Which is why I'm splicing extensions to the four ends of the X-brace struts... Another one for the Andyjr1515 bloopers DVD, @LukeFRC ?

My kids bought me this T shirt years ago - I've even worn it at gigs

You cannot beat getting hands-on with the instrument. Some good points in this thread, but all to be taken with a pinch of salt unless they're referring to the bass you're looking at. I've owned a few Warwicks made between '94-'04 (SSI, SSII, Thumb BO, Streamer BO, Streamer Std), 1 was a dog, 1 was a gem that I shouldn't have sold (the one that got away!) and I was reasonably happy with the others. All played differently though... you need to get hands-on with it to really have any idea what it's like.

Very good questions! I'll try. This will be a bit long :-) Yes, the cost of pedal steels is high, and sadly cheap "beginner" models can be as much of a hindrance as a help. Back in the day, newbies used to start on basic models with "pull-release" changers (as opposed to all-pull, eg. pro-level Sho-Bud and a hundred other brands, or push-pull, eg. Emmons) steels to keep costs down. Vintage examples (such as the pull-release Sho-Bud Mavericks) used to be gettable for about £500 but they're a bit of a pain, to be honest. Stay away from the Carter Starter, the mechanism is made of cheese and the knee lever stop design is a joke… they're bad enough to put you off playing for good. TL;DR; buy a pro-level pedal steel or be prepared to want to throw the thing out of the window. Yes, 8-string laps exist (as do 10-strings, though they're uncommon). A six-string is probably the best way to start. You can easily and cheaply experiment with tunings… open E or A for rock, blues and some Americana, then maybe a C6 tuning for traditional '50s country/roots, then, oh, about a hundred others. Eight strings really expand your options and make other tunings such as 11ths worthwhile. With any tuning, though, pros are balanced by cons… you just need to pick one (or two, hence double-neck lap or "console" steels). The E9 sound on lap steel conundrum… players have been battling this for decades. On lap steels with no levers at all, it IS possible to partly replicate the E9 PSG sound, and this is done by a combination of selecting certain voicings to trick the ear and by slanting the bar (bloody difficult). But really, lap steel is potentially so much greater (and better) than just a pale E9 imitator. It's a brilliant instrument - and it also encourages the player to understand and use the whole fretboard, as opposed to pedal steel, which tempts you with so many (often corny) licks via pedals and levers without moving the bar. But I digress… B-bender type rigs can be found. The off the shelf solution is the Duesenberg Pomona lap steel, which costs nearly as much as a very used pedal steel. Luckily, the bridge, the Duesenberg Multibender, is available separately for about £200, and can be fitted to a regular six-string lap steel (as long as it has enough body behind the bridge… the Gretsch lap is a popular victim for this mod). Main problem: having levers sticking out over the bridge slightly hampers your picking, and also your blocking (the art of silencing unwanted strings). The Multibender comes with two levers that can be applied to any two strings. It's raise-only, no drops. Three levers can be rigged up, but that makes it much trickier to operate; two is enough to replicate the basic "classic pedal steel move", which is to raise the 5th to a 6th (this also gives a relative minor chord) and to raise the 3rd to a 4th. Used together, these change the open (no-bar) I chord to a IV and, like a pedal steel, give you a I chord at the 7th fret. Bingo. There are a few Multibender demos on YouTube, but bear in mind that you may very likely be better starting on a plain six-string lap steel and thinking about a bender later. There's so much to learn and have fun with in terms of bar control alone. Am I making sense?! Happy to try again if not.

Here she be. And a jolly nice ramp it is too, well finished to my exact spec, inc fingerboard matched curve. Indian rosewood. Cheers to Toby, whom I have no interest in promoting other than that he's a good craftsman who may be of use to other members. Affixed with double sided tape, should you ask.

I disagree. Wenge definitely looks better most of the times, and has a snappier more maple-ish sound, Ovangkol is mellower and not as beautiful, but sounds great. And it feels good to my fingers too. I have to say I prefer having Ovangkol in my 2007 Streamer Stage II. It sounds and looks amazing and it doesn’t need any more snappiness or clarity to its sound. Neck is massive, but you get used to it, I find it more comfortable for my hand, in fact. It feels a more natural ergonomic position for the hand. I have a 2003 Corvette Fna jazzman too, and the neck on the SSII is even chunkier, specially when in the upper frets. Not a problem, just a different design, you may like it and get used to it or not I have a 1987 cherry Streamer with slim wenge neck and is gorgeous looking and sounding, and you can feel it’s been hand made and unique. Love the sound and feel of that bass, though the routing of the pickups is not great, much tighter in a 1983 matsumoku I have. But you can definitely feel the difference between 80s Warwicks an 2000s. And yet, the Jazzman and SSII are amazing basses with its own voice. I like that. I’d like to play one of the new ones, but strangely lately I find I only want used, well played basses, with years of gigs if possible. My latest purchase was a 1982 Ibanez Roadster that sounds completely different to a Warwick and has many scars on it. I wouldn’t change it for any new Wick, no matter how shiny and great sounding. I guess I’m getting old. ovangkol on a 2005 SSII I traded some years ago:

I have a Thumb 5 BO, 2004 or 2005 (I can't remember which, 90% sure it's 2004), ovangkol neck and body, ebony fingerboard. Supposedly the worst of the worst for Warwicks, but it sounds amazing and plays beautifully - the action is lowest out of all of my basses, if it was fretless you'd be able set it up almost impossibly low. It is brighter and growlier than the all bubinga Thumbs, so it's probably not to everyone's taste. Just about the only upgrade I would make would be a brass nut but given that it only affects the tone on open notes I just don't think it's worth the hassle, not when it sounds and plays like it does now. Maybe I should be worried that the nut will snap, the neck will warp or the truss rod will break. Maybe I'll just keep playing it and enjoying it. If you've never played a Warwick, don't be put off by the "baseball bat neck" stuff. Sure, they're not Jazz thin, but they're more ergonomically designed than a tradition P bass neck, they have been made with the form of the human hand as a consideration. I was playing a Fender P this morning and couldn't get over how blocky the neck was. That said, I'm of the opinion that if you're of the right mindset, you can adapt to any neck type - I've got a Peavey Palaedium that makes a Jazz feel fat and I've got a Raro 6 string that is huge and I don't struggle on any them. If you can cope with a 4 string P bass you can play any Warwick without issue, as long as you have good left hand technique. If you tend to let your thumb slip over onto the fretboard you might have issues, but I think that would be the case if you were playing a 5 or 6 string from any manufacturer, not just Warwick.

It could be interesting on here for a while if you lot decide to go for a Rickenfaker

You're riding on the late bus / Trying to find your way back home / Darkness falling round you / Can't see ahead to where you're going You may be riding with whores and gamblers / You may be riding with the lonely and insane / Some of you may be laughing, some are crying / You're all trying to get home just the same

I actually wrote a song called "The Late Bus" as soon as we chose the name - a gospel-style take-off of "This train" - "The late bus ain't no train to glory / Them iPods ain't playing no gospel song / And when the wheels come off the late bus / Tell me how are you going to get home?" Turned out to be prophetic 😞

If you've got a Tool shaped hole in your life, Soen are probably the closest thing to it, they have former Opeth drummer Martin Lopez and the first album has Steve DiGiorgio on bass

Onto the installation of the rosette and purfling circle. This is a bit scary because it's got to be spot on. And it involves routing a couple of mm out of a top that is only 2.7ish mm to start with! First was to use the asymmetric holes in the centre of the cut out rosette as the template for a couple of similar holes in the top: Then remember not to cut out the centre until I've routed all of the other bits! First I routed the edges of the rosette - the inner using one of the pivot holes and the outer rout using the other one : So - what's going on on the right hand side? Well - it's a good illustration of a little tip for acoustic guitar rosettes: leave the join lines / gaps and test the rout position always at the neck end of the circle. Why? Because that will be covered by the fretboard And so if you pink torpedo up your measurement, measuring from the wrong side of the router bit: ...then you can correct it for the full circle and the pink torpedo up won't show because the fretboard will be over it Anyway - trying to remember which pivot hole to use far which area, I indexed the router a couple of mm each time each way to clear out the wood in the centre so I could fit the rosette Then a 1mm slot on the outside for some purfling: Then installed the purfling - it bends easily round this kind of radius dry and cold - and then some very careful scraping to bring the whole rosette down to top level and finally a deeper rout to cut out the sound hole. And here we have it: It's lucky that the c**k up slot is going to be covered, otherwise I'd have had to have added another piece of laminate as a 'feature' But luckily, on an acoustic, the fingerboard (or in my case it will be a stick on end magnetic pickup from a Shadow dual system) goes right up to the sound hole: I've said it before. Many regular builders will agree that we still make as many c**k ups as when we were beginners - it's just that we get more skilled at sorting out the consequences and hiding them!

Freshly roasted coffee. I was unknowingly drinking crap coffee for years until I found a great quality, freshly roasted coffee.

Superglue. Most definitely superglue. Looks quite spectacular from the photo! Good luck 👍

Thanks for that recommendation, excellent. I skipped around a couple of their videos and landed upon this. I shall be playing it every morning before breakfast for the next while.

Well, after getting on for 45 years of bass playing, exclusively 4 string basses, I suddenly bought a six string a couple of days ago. Mainly because since joining a band playing Grateful Dead cover exclusively, I've found myself running up and down the neck where Phil Lesh would be going across, and partially because I just fancied a new challenge. Ordered it on-line Wednesday (never played a six before) and it arrived yesterday morning, well packed and in perfect, straight-from-the-factory condition. Played it for a couple of hours yesterday, and I have to say for an instrument that cost £100 less than my last Mexican Jazz bass, it is very impressive, lovely wood, good hardware, useful active electronics, and, of course, an extra string or two! Planning to play it as much as I can today and hopefully use it at tomorrow's gig in Melksham, playing with the Wirebirds, so material I've played for several years. So far just getting used to the feel of the wide neck, and mainly playing it as a four string using the middle strings, have started to use the low B string to save the effort of moving down the neck to get to nots between A and E, and once or twice just found the notes I needed on the high C. My biggest concern is how it will feel to pick up one of my lovely four strings once I've played this for a while!

And what if the buyer says it wasn't him and his account was hacked ? It's been done before. The safest and most foolproof answer for collect only items is cash.

Would rather not take that chance, I never take paypal for local pickup

Some thoughts on one I'm building for myself, it will probably be having a Satinwood fretboard (think ancient maple with aged nitro for colour). I want a transparent red finish on the front but I've been thinking maybe I could veneer the fronts of the body in some fort of quilted Maple then rather than bind them I could blend them into the rounding over then do a candy apple over the sides and maybe the back but over gold not silver do it's a sort of candy apple burst. How does that sound? I'm actually having a lot of difficulty visualising it, I can usually see these things clearly

So the braces are actually laminated? 🤣

Well I hope you like it, that's a great price by the way.

Any seller is responsible for lost or damaged items. The insurance a seller should take out when posting is for the SELLERS' protection, not the buyers' It is therefore the seller's responsibility. Seller refunds you and seller claims off the the insurance. Thats why insurance exists. The seller owes you the full amount, but sadly, you paid by Paypal F+F and there's no charge back if using F+F. If he doesn't refund you the full amount, you're stuck. One thing though, if you paid by credit card on your Paypal account, and Paypal wont refund you, claim off your credit card

Contact OBBM (Dave) on here, his leads are amazing quality and incredibly good value. His website is as below: http://www.rock-wire.co.uk/

I never use F&F unless I know the recipient. Things can happen. I've sometimes just paid extra to cover for the Paypal fees, when a seller insists on no paying fees. No use to you now, of course... but worth thinking about in the future.

Paying with Paypal with the Friends and Family (F&F...) option precludes the protection available for commercial transactions. One should only use this option if the degree of trust is firmly established between the parties, and be prepared to have no claims channel if things do, unfortunately turn sour, as in this case, apparently.

I had a Shuker 6 strings bass and as I liked to say, it's a typical British design, sober is the word, then play it and you'll understand the craftsmanship behind the instrument : it's close to perfection. Go on, you certainly won't be disappointed.

Personally, I'd say that a full refund was in order. The rate at which the courier refunds 'per kilo' or whatever is not your concern, only that of the sender. He/she is the person that suffers the loss, and should take out adequate insurance if the risk is felt to be worth it. You've paid for stuff you've not received, so should get your money back, that's all.

I've had 2 Warwick basses, a fretless Streamer Jazzman, 2006 I think and a 2012 Streamer LX, both German. The Jazzman was built like a tank, had a chunky neck and sounded beautiful. Did a few gigs and recording sessions and it never let me down. It was a wonderful bass. The 2012 Streamer LX that I bought new was a different beast. Lovely looking bass but the sound was thin and didn't have much bark. Certainly lacked that Warwick growl. The neck was also thin and the whole bass felt cheap and flimsy. Quality was poor, the jack socket broke within a year and one of the pickups fell out because the mounting was broken from factory. It was a lovely looking bass but it felt like a cheap imitation even though it cost around £1700 at the time. I did borrow once a Streamer Stage 1 from about 1991 and apart from a dodgy jack socket, it was gorgeous. Sounded amazing and played beautifully.

Join my Band has lead to some interesting experiences, for me. I'm sure there's a thread for that...

I've found it's a lot harder since going online.

Plain vintage cream then 😉

You seem to be deliberately intellectualizing your app here.... You should be going for usability and transparency. So it's a chord-suggester... there's plenty out there... And I for one think you should do that for yourself as part of the writing process.

Impulse Response Impulse response is easy to overlook when you’re starting out learning acoustics, but it’s a very useful measurement. The peaks in the response represent reflections and can be used to work out the location of boundaries that need acoustic treatment. For example, in the screenshot here, the first big spike is caused by a reflection off a surface that is located [4.38 ft + the distance from the speaker] away from the microphone. Hours of fun to be had with that! (which I’ll explain another time…). In a ‘good’ response, you’d want to see no or very few peaks above 20dB (that is confusingly, between 0 and -20dB on the graph) within the first 20ms. On Pete’s measurement, we see a lot of reflections in this region… which is perfectly normal for an untreated room. And even in a well treated room, it’s common to find spikes caused by furniture and other surfaces. For the time being, there’s no point getting into the detail here until we’ve found the optimum listening position. So I’ll park it and move on.

condoms! id own far more gear

* Young people in bands tend vocally to reject new or diverging initiatives straight off. Old blokes tend to let it fester then suddenly explode when triggered by an entirely unconnected issue * Young people gig in skimpy t-shirts and unfeasibly tight trousers. Old blokes gig in waistcoats and Australian bush hats with corks on. * Young people miss rehearsals because they are (i) off their faces on a lethal cocktail of drugs or (ii) putting the brisket to some sweet young thing. Old blokes miss rehearsals because (i) its their brother-in-law's birthday or (ii) they've got a proctologist's appointment the following week. * Young people play too loud on cheap, generic gear. Old blokes play too loud on exotic and very expensive gear * Young people obsess about being friends with their bandmates. Old blokes obsess about suppressing their hatred for their bandmates. * Young people want to make exciting new sounds. Old blokes want to get exactly the tone that Jimmy Page had at the Albert Hall on the evening of 9th Jan 1970. ... and so forth.

I also recently made the switch. Some of the effects use two slots - so up to 8 parameters and an extra foot switch per effect. There are also some other areas that I feel gives more flexibility: - Seven slots per patch - Cab sim can be toggled via a foot switch, which I find really useful when moving between the old Ampeg 8x10 at the rehearsal room and my own modern rig. - Better patch switching/ effort toggling I am a bit disappointed with the lack of D.I. and audio interface via USB.

Only just seen your build and was thinking that would look great with a translucent white finish and bingo there it was. I'd use a satin finish, it's a little more forgiving on softwoods which with the best will in the world are difficult to get completely flat. Mind you when I saw the first pic I thought nothing meaningful would be made from those and I was instantly proven wrong so no doubt you'll prove me wrong

had the day to myself so had a go at binding, things was going quite well until I got to the final bend on the last horn and the bloody binding broke, I had warmed it up and moulded it round the horn but when it came to sticking it on it broke, didn't have any more so I had to splice it together, it came out alright in the end.