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I tried calling the Tinnitus helpline but it just kept ringing.

This is a 64 repica made by the Rick guru in the US....He repaired Sir Pauls when it went back to Rick

For paints and clear coats auto acrylics (not enamels) are worth considering. They dry as hard as nails and don't feel sticky like poly can. If you can find an auto paint specialist store, a place that makes up paint and spray cans for customiser's and vintage car nuts, they should be able to match nearly all Fender colours as the colour codes are readily available. I won't spray nitro anymore, my lungs have had a hard enough 60 odd years without adding acetone, toluene and the like to my life time contaminants load. Anyway, Lucite (acrylic) lacquer paints were used by Fender, some colours were exclusively Lucite. (Particularity the metalic finishes.) Here's a couple of quick (and decidely average) shots of my "Stang" type 6 string in Surf Green auto acrylic.

Bacchus made a tasty Stingray in Jazz clothing. It's feels like a J but the sound is 100% Ray.

Don't Stand So Close To Me - Police

It has to resonate and things resonate with different people in different ways. For some, it is the dance, for others the song. For me it was always the notes, the chords, the harmony, the sounds. Prog does that for me in a way that other genres don't. I don't like Floyd because the rhythms are generally unsophisticated, that harmonies a little too diatonic and so on. Yes and Genesis had more of that going on, arrangements that went somewhere unpredictable, glorious range of instruments, solo guitar to massive soundscapes etc etc. I do think a lot of new Prog lacks that breadth and it can be a little 'formulaic' but the music industry in the 70s let some brilliant stuff through: would CTTE er Relayer be underwritten by record companies today?

Funnily enough I prefer Dark Side as it was meant to be heard, in the original reggae. When Floyd covered it they sucked out much of the groove and all of the fun!

At my age i'd rather be safe than dead. Its a bummer trying to play when your fingers are disintegrating. We are now looking at mid 2021 before things pick up. Of course a vaccine can't be far away now that Donald Trump has been cured. Dave

Knobs will needs to be better, like this perhaps.

Drilled some holes, test fitted some Gotohs....

Meh leave them to it. We all love our music in different ways.

Mine..

Isn't SubZero what Geddy Lee used on his last tour?

Sad news indeed as Licorice was there at the start of Rock & Roll in the 1950's. He was part of Marty Wilde's Wildcats who backed Eddie Cochran on his ill fated 1960 tour of the UK: Licorice and Brian Bennett with Eddie at the NME Poll Winners Show February 1960:

Remember it? I did it just yesterday.

Speaking of the Rabin years, did I ever mention the time I did this? Of course I did.

This

Not me. The Diamond Dave/Fast Eddie chemistry was all of it, for my money.

I removed the Delay and the LPF. I'm trying to make it smaller. This is all I need for now.

There was an utter cringe fest on Jeremy Vine's show this afternoon where the complete twunt had all manner of guitarists phoning in to do tributes on their guitars. The signal crapped out all over the shop and it was just awful. I find him unbearable at the best of times, but he then admitted he didn't;t have a clue that EVH did the solo in Beat It. Utter utter 🔔 end.

The Corvette is finished......well apart from cocking up wiring and a broken pot so no output at the moment lol Before...... After...

Reading yet another bridge thread this morning, and realised that in nearly every thread about mechanics, e.g., the various Badass v BBOT, through-neck versus bolt-on, tone woods versus whatever the opposite of tone woods are, and even about the basses themselves, sustain is often the characteristic of the bass that is discussed. But why? I get it with, for example lead guitar (although for rhythm it's often completely undesirable), and I get it with some orchestral instruments, although in many again it's undesirable (and I'm prepared to be told I'm wrong, but I assume that with many instruments it's de facto undesirable, for example kick drum)? Anyway, I've realised over recent years that I've always been impressed by sustain on a bass, as if its capacity to sustain was somehow a mark of superior quality build or components, but that I rarely, if ever use sustain, even on fretless. In fact I use foam mutes so often that whilst being impressed by an instrument's sustain in principle, I often immediately inhibit it. So, genuine question, why is this? Is sustain just the Emperors' Invisible Clothes, or a legitimate mark of quality?

I pre-ordered the 3 Leaf Audio Octabvre MKIII in August. There have been some delays along the supply chain but should be arriving in the next couple of weeks!

Axminster is one of those places where, whether you are on the web or in one of their fabulous stores, you always come out with more than you intended to buy when you went in So this morning, the 14mm Forstner arrived: ...and as a little extra, this: Happily, it just looks like any other orbital sander.... Anyway, the urgent stuff was the 14mm Forstner that let me drill the tuner holes. And THAT let me position the string runs: ...and after many, many, many checks for length and positioning, the fixing of the first Hipshot: And then the other three. A quick temporary tighten of the tuner bushes and a fit of an old set of strings allowed me to check the spacings and - given there is no nut yet - whether the string runs are as straight as I'd hoped: I was both pleased and relieved that the strings also go past the pickup diagonal corners in the right places! So I can now agree with Tom the angles he wants on the tuners (looks like we can copy the African Bass Mk1) and then I can carve the curvy cut-out in the headstock Tomorrow, I will also drill the ferrule holes to set up the through-body stringing rather than the top loading these temporary strings are using.

World Leader Pretend - REM

My Iron Lung - Radiohead

Nineteen - Paul Hardcastle nnnnnnnnnnnnnnNineteen

I’ll just leave this here (admittedly the offspring of a Jazz and a ‘Ray).

This is my sort of prog; pompous, unapproachable,virtuoso,completely barking and a 4 minute vocal intro in some Gypsy language! And no goblins...

You, Sir, are bang on...

I'm not 100% on the history, but I think part of the reason there are so many direct copies of Fenders is that they were quite slack with copywrite early on, and by the time they tried to enforce it, too much had already been let slide for them to have a strong case. This has given the impression that EBMM and Rickenbacker are stingy gits for not letting people use their designs, when in fact we have just gotten used to Fender being ripped off with inpunity. EBMMs range is pretty confusing with all the diferent combinations of Musicman/Stingray/Sterling/S.U.B./Ray4, but the (I think) Sterling by Musicman S.U.B. Ray 4 looks like a good lower priced version, with the two band EQ, too.

As Neil Peart once said: ‘Different hearts beat on different strings...’

+1 for Ashdown. That's how to run a company

Or just different taste. Dark Side is undoubtedly a brilliant masterpiece yet I prefer WYWH.

Yup what @Trueno said... I'd go for a mic through the PA every time with sax, mics through amps are rarely a good idea live. Condenser mics (which need phantom) are often the best choice on reed instruments especially when recording, but an SM57/58 on a clamp on your vocal mic stand is also pretty standard practice and works well. If you do go down the PA route and want a clip-on mic, i can also recommend the AKG C519 for around £110, but it will require phantom power.

This is the funniest thing ive read for ages. Its a lot easier to not click on the links than it is to click, listen then go and start a thread about it. If it winds you up why listen to them? and if you don’t listen to them why comment on something you haven’t listened to?

I don't know what may have happened or why such delay, though there are constant shipping issues with inland freight at both ends, at the ports, on the water through customs and in destination transportation. I'm not making excuses, and I am truly sorry for your experience. I really do understand and appreciate your frustration.

Many many years ago I used to have a 6U SKB rack case, I bought it secondhand and it didn't have enough of the fixing cage nut thingies to allow me to mount all the bits of kit I wanted in it. I looked all over the place on tinternet but couldn't find any, so I emailed SKB in the States and asked if there was a UK distributor I could approach. The reply was along the lines of "yes they can be a bit hard to find, give us your address and we'll pop some in the post for you FOC". I replied with my address and 3 days later they fell on my doormat all the way from Orange County California. Fabulous customer service.

Actually arrived today. No issues apart from a slightly loose battery compartment door. Shuts ok though. Plays and sounds great with loads of mwah

Van Halen’s passing doesn’t upset me one bit, in all honesty. Not because I’m a git. Obviously it’s tremendously sad for his friends and family. But I didn’t know him. I liked his music, but that’s as far as my interest in him went. Is that bad? Same feelings for Rocco who passed recently. Tremendous player, seemed like a genuine guy and I grew up with his music. But times change. I like other music too. I appreciate the music he left behind that I can enjoy forever. Maybe it’s just me!

U ok hun?

The journey. In the early 70's I read too many magazines & caught the bug. Went to hi-fi shows, sat-in on listening panels, read more mags & dipped into hi-fi shops for a listen & drool - probably saw Bassaces' Quad. Lust but not enough cash. Started with a 10w per channel Amstrad!! Dad and I paired it with a Wharfedale Linton home built kit. 1976, a JVC cassette deck. 1977, an Alba UA 900 33w p/c amp, "a poor man's Sugden" (stil got it wrapped up in the loft). This was followed by another (bigger of course & on a stand) ) home built loudspeaker based on an 8" Dalesford speaker and a Shackman Electrostatic for mids &treble. Mmmm, nice. Went to Alex Shackman's house in Barnet for a personal audition. About '77, found Graham's Hi-fi in Islington. Really upmarket. Left with an Edinburgh Wireless FM tuner (Nytech in disguise) and a pair of PWB Electrostatic Headphones. Now we're motoring. Discovered Direct-Cut discs - Dave Grusin "Mountain Dance" was one. The PWB transformer failed in the 90's. Still in '78, bought an AR Sugden turntable & GH Hadcock tone arm. They're still parked in the hi-fi unit, loved but unused. Tweaked the platter with an anti-resonace damping pad. Married and moved. Walking to the car-park after work and spotted a Sugden A48 II in a record shop window!! It was a shop demo unit; I had to have it. It lasted about 12 years until I re-fitted the wrong plug into the wrong socket (hi-fi ffurniture re-fit) and blew an output transistor. Off to Sugden for £120 repair. I did a similar trick (with the mains extension socket thing on the back) early in the new century. There was a bang. Anybody want an old Sugden to fiddle with; A 48II, Serial No. 5723 awaits your screwdriver & soldering iron. Too embarrassed to send it back to Sugden again, so opted for a nice Denon 455 receiver which would have cost less than a major Sugden repair. Aiwa cassette deck bought in late 80's. Now parked and unused. I'm down to 20 cassettes. In the mid-late 90's CD's were the thing. More magazine articles. Marantz this, Marantz that - the best in it's class etc,. Went to Audio T in Enfield with my own CD's. "No sir, you don't need to spend extra on our extended warranties. These products are all very reliable." Auditioned Marantz ?67, a £600 Audiolab and a YamahaCDX 550. "The Marantz is a little more exciting" said the man. Thank you, said I. I started to become aware that I was listening to the eqipment (i knew the music backwards) but was the "excitement" accurate or was it showroom appeal? I came out with the Yamaha. I changed the cd-tray drive belt last year. If the electronics fails I'll change it, but not otherwise. Probably 24 years + amd counting. Circa 2015 bought a Van Den Huul interconnect for the CD player - a clear difference in both the revelation of detail & smooth presentation of the mids & high-mids. 70th birthday treat - Monitor Audio Bronze floor-standers. Great for cathedral organ music. Last year, Beyer Dynamics DT880's. Oh yes! LP's being phased out, the weak & unloved ones go to a local vinyl re-seller or Oxfam, the top one's are going to my grandson and many old/lesser CD's are being digitised. Maybe one day it'll all come down to a Brennan? Well, maybe one CD for the birthday & one for Christmas.