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I wanted to add another retro styled, short scale bass, to my collection. I already have a Sandberg Lionel and a Guild Starfire 1. I toyed with the idea of a Warwick Rockbass Star bass but decided I wanted to stick to a 30 inch, or there abouts, scale length. I went to try out a DeArmond Starfire 2, that was quite a beauty but needed a lot of fettling and was surprisingly heavy. Next on my radar was a Hofner Verythin bass. Although I have played quite a few Hofners in shops, I don't think I have ever owned one. This Verythin is from the Contemporary series, made in China. I'd really loved the looks of this semi and noticed in videos that it didn't seem to sound as dead and thunky as it's brother violin and club basses. Part of this may be in that it comes strung with roundwounds, not flats. Anyway, yesterday afternoon I finally got one in my hands. And I was quite pleased that a few of my negative preconceptions were incorrect. One was that I'd probably want to remove the scratchplate. Well actually, it looks a lot nicer in person, with a lovely dark creamy hue, that blends very well, with the bass's vintage brown sunburst finish. Secondly, it hung perfectly on a strap, with not the tiniest hint of neck dive. And lastly, despite it's antiquated bridge, the intonation was pretty good. I used my tuner to compare open strings, harmonics and fretted notes, on the 5th, 12th and 17th frets. Much better than I would have thought likely. The finish on this bass is pretty damn good, with no obvious flaws, that I could see, the fretting is smooth, with the neck and body having some nice, creamy binding. Now there are things that the average bass player may not like. The string spacing is a quite narrow and the pickups kind of have their own flavour. They don't have the clarity and punch of the single coils, on my other basses. They are fairly low output. But I did find, that with some experimentation, with the 2 vol and 2 tone controls on this bass and some judicious use of the amp's EQ, some very nice tones can be achieved. This is no rock machine, or slappers delight but it is cool for 60s pop, soul and RnB stuff. I am a finger player but this bass does play and sound very nicely using a plectrum, also. It's not going to be my main bass but really adds something I don't have in my other basses. It comes with, I guess, Hofner roundwound strings and TBH they are very low quality. I'll be replacing them with Elixirs, or maybe go mad and get some flats, ASAP. As this and my Guild Starfire 1 are both modern interpretations of vintage instruments, with semi-hollow bodies, I thought a comparison may be of interest. Both have similar sized bodies and weigh pretty much the same, although the Verythin's body is around a centimetre thinner than the Starfire's 1 1/2 inch depth. The Verythin's headstock is smaller, as are it's vintage tuners. Which obviously helps with the total absence of neck dive. The Verythin's neck is slimmer and appears to be the same width, across the fingerboard, at the nut as it is at the 22nd fret. And access to those higher frets is easier on the Hofner. The down side to this is the narrow string spacing, which many players may not like. The neck profile on the Guild is a fairly flattish, what Fender might call a flat C, whereas the Verythin has a deeper profile, that gives the narrow neck a very nice feel. Both have attractive tailpeices and separate bridges. The Guild's Tune-O-Matic, nickel bridge, is far the better, of the two and is bolted to the body. The Hofner's bridge is mainly of wood and seems to be floating, except that there is a metal rod that connects the bridge to the bass's raised scratchplate. Which seems like a good idea to me, seeing as they have got the intonation sorted so well. On the pickup front, the Guild has a P-bass style, single split-coil pickup. The Verythin has 2 Höfner Staple Top humbucker pickups, situated pretty much as far apart as the bass allows. Obviously the 2 pickups gives far more variety in sounds but the Starfire's pickup is an awesome peice of kit and really you don't need to do much to get a clear, full sound from it. Cosmetically both basses have a well finished, retro look. But the Hofner is far the prettier, with it's flamed maple top, gorgeous scratchplate, stylish headstock and rather different, pearl and red fret markers. But, it is all that 60s styling, design and hardware that make the Verythin a bit of a niche bass. The Starfire 1 has taken a few steps to move into the modern world and would be far more useful as a general purpose bass. It's strong pickup and more contemporary neck and string spacing would make it playable to most modern players. I have rather fallen for the more niche, Hofner Verythin though. It may not make it to a lot of band practices but it will get a lot of home use and be very useful for recording too. Who knows, I might just get those flats and start playing it with a pick.

My new shorty.

It would be full of village idiots though.

I put a solid jazz pup cover on my Performer and think it blends in and looks a lot better in my opinion…

Same - only change has been the need to make the letters bigger over the last few years to compensate for middle aged eyesight.

I'm playing with my ABBA tribute in Breda, in the south of NL Not a big fan of the holidays so very happy to be working.

It was only after watching video back from the gig that I found out I'd learned one song in a key a semitone too high, and apparently nobody (myself included) had noticed for the last six months! Ah well, fortunately it's an easy song to transpose, but I'm still mortified.

Merry Christmas everyone! I just wanted to tell you that I really appreciate all that you do and are in the world of bass. I love this community and am raising a glass to the lot of ya! Have a safe, peaceful and happy break, however and whatever you are celebrating. Big ole love! Dooooooood!

So I've had a bit more time to play with it now, and I think I've identified how to get some of those signature Wal sounds with the new circuit and pickups. That classic high-mid Wal "bark" is in there (the Geddy/Chancellor tone) - pickup blend centred, both filters open to about 75%, and both knobs pulled up to activate the frequency boost. The frequency sweep of the Lusithand preamp is a bit wider than the original Wal circuit so you don't really need the "pick attack" setting. If you pan most of the way to the bridge pickup and have the bridge frequency knob set somewhere in the middle, you've got that poky, rubbery tone that I associate with Percy Jones and Mick Karn. It's tempting me to mod my fretless Bongo. If you have the blend centred and everything wide open with both boosts activated, you've got a slap sound to die for. The only downside to this upgrade so far is that it's added maybe a pound to the weight of the bass - the pickups are hefty! I'll try and knock up a video over Xmas - @Dood, I'll take your suggestion! But I'll throw in a few stereotypical Wal riffs (bit of Tool, 80s Rush, etc). I'm no videographer, but I'll do my best.

Van broke down night before! AA fixed the issue so got the gear and myself to North East Lincs (g/f lives close to the venue) only for the van to die just as we set off for the venue the next afternoon! Luckily we had lots of time in hand so 2 x return trips in the g/f's car! Managed to get everything except the PA subs to the venue for a private birthday party with plenty of time to setup and sound-check before the guests arrived. Show itself was great to a room of approx. 200 hundred rock music loving bikers, but due to the late finish we had to leave half of the gear at the clubhouse of the local patch club - top guys who were very accommodating and had attended the party as guests - and return to collect it the next day Overall - 4 return trips totalling 240 miles and 4.5 hours but worth it! Van goes into the garage in Jan for a replacement fuel filter and one-way valves in the fuel lines to prevent further fuel vapour lock issues.

Bandeoke in Bristol last night. Poor turn out but those there enjoyed it. The Bugera Veyron / Elf cabs combination was absolutely stonking.

We’ve been booked at the same venue for the last two years, only not been able to do because of Covid, so this year is finally going ahead and I’m pleased, decent wage, no promotion or marketing for us to do, ticket sales to worry about etc, just rock up and play. It’s a restaurant in Hereford who are putting a big buffet and treating it as a party for their staff and friends.

A few weeks ago, I received a message from another member of this fine parish asking me a rather exciting question. Would I be interested in road testing the latest offering from new company LFSys? It took me all of two seconds to reply. Fast forward a few days a rather exciting parcel arrives at my work. It’s the flagship of LFSys 12” bass cabinet range – THE MONACO What’s it all about? Well dear reader, LFSys is a new company formed by super brainy and all round good egg Stevie of the Basschat forum. Stevie, along with a few other kind souls have been generous in sharing designs on this forum that we can print out and build / attempt to build / look at longingly. I have had a go at the easy build 10” design and both the MK2 and MK3 12” design and I can say that the end results have been ace. The guidance available on the forum is superb and I’ve ended up with some pretty useful cabinets that I’ve gigged with great results. LFSys currently has a product line-up of The Silverstone – 300W 8 Ohm The Monaco – 600W 8 Ohm Along with a 10” design that will be available early 2023 (Can’t wait to see this!) So… To the Monaco! Those of you who have made sawdust and constructed a MK3 bass chat cab will recognise the Monaco’s physical dimensions, but that’s where the similarities end. Different neo driver, neo horn, quality horn flare and in-house crossover add up to create a “supercharged” version of the cab…. and the Basschat cab was already very capable! Fit and finish is great. This cabinet is no thin ply featherweight being constructed from top quality 15mm Poplar ply, but the dimensions of the cabinet make it easy to transport via the large, comfortable handle. Even my shovel like hands fit in the recessed dish of the handle comfortably. It’s balanced nicely and the cabinet isn’t deep, which makes it a cinch to move around. It’s tough, but easily manageable – ideal for a life on the road. I have a strict “no scales” policy in my house, but the website lists the Monaco @ 15kg. A strong, but light gauge steel grille keeps the expensive parts protected and quality stackable corners (if you’d ever need more than one of these!) resist the knocks and bangs of gigging and touring. A twin Speakon connector is neatly recess into the back of the cabinet. There is no HF horn control present – more on that later. I used the Monaco with a TC Electronics BH800 head. It’s a good pairing as the BH is capable of approx. 400 ish watts @ 8 ohms. I also tried a Genz Benz Shuttle 3.0 and a Crown Drivecore power amp with various preamp pedals. LFSys have designed the Monaco to be FRFR (Full Range, Flat Response) The Monaco doesn’t “colour” the sound of your bass. You’re hearing your bass and your style, rather than a “baked in” tone that some designs possess. I played a few frequency sweeps through the cabinet. The progression between driver and horn was smooth with no prominent volume gains or dips. I also played some pre-recorded music through the Monaco and found myself adding bass to an otherwise flat EQ. It was only once I moved away from the cabinet a little that I realised that the bass is most definitely there, but nowhere near as muddy or boomy as most cabinets I’ve used. It’s a really tight, punchy bass. Groovy! I mentioned earlier there was no HF horn control. It doesn’t need it. The superbly designed crossover is taking care of everything rather nicely and a quick tweak of the EQ on your amp will give you what you need. You get out what you’re putting into this design. I used the Monaco at two local gigs with a rather loud 70’s Rock / Glam Rock band and it took both gigs in its stride. Positive comments from both band members and audience. Even my partner said she really noticed the “better sounding box” (praise indeed) The first of the two gigs was in a large pub with a very small stage. We’re a five piece band, so a small stage generally means that my cabinet is making my flares flap around and my ears struggle to pick out the mid and upper end of my tone, but I could hear the mids and highs much better than the other “quality” cabs I’ve used in the same venue. I’ve gotten around this issue in the past by raising the other cabinets off the stage a little or tilting the cabinet back. The Monaco remained on the floor right behind me and my amp was not really breaking a sweat. I think a large part of the success of this design is the use of a good quality horn and flare which is crossed over at an ideal frequency, rather than a “token” (read cheap maybe?) horn like some manufacturers fit, that seems to squirt a little bit of high end fizz forwards and leaves a big hole right where we need to be hearing things. I’m no expert, but this is how it feels to me. Summary A good looking, well-built speaker cabinet that sonically equals or betters anything I’ve played through. Clear, punchy and LOUD with the mush and boom that so many cabinets seem to produce. Great dispersion means the Monaco is ideal for small, cramped pub type gigs, but has the volume and punch to meet all but the biggest pub/club type gigs needs. FRFR means that you can decide what you really want to hear. The addition of pedals/multi FX and tweaking of EQ can give you a really broad spectrum of tones. You really can “dial in” the tone or style you wish to hear. My VT Bass DI really came to life through the Monaco. Would I change anything? The only thing I would like to see is the handle recessed slightly to allow amps with small feet to sit on top of the cabinet. Possibly a few colour options for an extra (and no doubt sensible) charge? Us low frequency lovers seem to buy with our eyes as much as our ears. Something to consider maybe? Would you need more than one of these? Unless you’re intending to rip the crowd’s faces off, then I doubt it. It’d be fun to try though…. Price! The Monaco currently retails for £795. It seems that most “well regarded” cabinets of a similar spec are now in four figures. The Monaco is a whole lot of speaker cabinet, made from quality components by someone who knows his stuff for a very sensible price. A tough cover is also available to keep your new investment in great condition. Amazing warranty period of 3 years. I also have no doubt that Stevie will stand by his product and offer assistance as and when required. Buy with confidence! If you’re in the market for a new “do it all” bass speaker cabinet, I’d recommend that you take a look at the new kid in town, I’m pretty sure you won’t be disappointed. Thanks for the opportunity LFSys - I appreciate you trusting me with your product. For more info and full specs, visit www.lfsys.co.uk (Pics - The Monaco in all its glory, the Monaco being put through it's paces by an idiot in deepest darkest Norfolk and a shot of the internals - strong!)

So does rubbing raw onions in your eyes.

Thinking about buying a board, probably one of those Aclam ones with mounting blocks rather than using Velcro. The small size one should work, not sure I’d get my tuner on here too but I don’t really need it on the board. I’d probably go with these:

We played a venue and afterwards, as we were being paid, the entertainment sec told us about the band that had payed a couple of weeks before. "All they did were ABBA songs," he said. "The members hated it and we had to stop them halfway through the night." We were trying to leave but politely showed interest. "What were they called?" "Abbamania". 😂

It's home. First impressions - exactly what I was hoping for. The output level is INCREDIBLY loud - too beefy for my practice amp. So I'll have to dig out the big rig to give it a proper shakedown (and maybe make a video). Any riff requests? Interestingly, it has a big dose of that Wal flavour (it's got that "complexity" in the upper mids), but it's also retained some of its Music Man-ness, probably because the pickups aren't in the Wal positions.

Well not really NBD as I've had this for a bit, but it too a while to get it the way I wanted. I originally brought this from here to try out all of the unusual in one bass (short scale, headless, fan fret). The silver wasn't really to my taste, so off came the neck and it went into the spray booth at my good friends at Northroad cycles for a surf/seafoam green refin. Hell, if you're going to play in an 80s cover band then why not go the whole hog? Here it is before: And after: The good: It weighs bu**er all and balances nicely. Fit and finish is very good. Nice neck profile. Comfy contours. It sits really nicely in the mix with the band. Adjusting to scale (for the most part) and fan frets isn't a problem for me. The not so good - compared to my Sandberg Cali TM5: I can't get the action quite as low. Playing solo, the pickups are a bit woolier, however it does sit very nicely in the band mix. It's a little harder to play up at the dusty end, although that's probably a combination of my sausage fingers, poor technique, and time needed to adjust to the scale. The control knobs are also hard to intuit. A couple have a physical centre indent, which I like. However others don't so it's hard to tell where you are on the dial. The locking jack socket is a right pain. That's probably going to get changed. I've had it at a couple of rehearsals, no gigs yet due to world cup related cancellations. Looking forward to trying it out.

Arrived today - a Batmanking bass uke, which looks very similar to the Ebay picture: Also included: a soft case (as seen), adequate for avoiding little dents, and a hex key. I was a little puzzled by that, as Mrs Whelsh Ukulele Lady said in her Youtube review that it didn't have a truss rod, but they've obviously listened to her and put one in - or at least put a truss rod cover on, maybe there isn't a truss rod under it. On top is a preamp section featuring a tuner (appears accurate), volume control, and 3-band EQ. Around the bottom is a socket plate with a 9V battery tray (battery not included), 1/4" jack socket, and XLR output. The strings are a different feel to the silicone strings on my Ashbories - not grabby like those are. I've had an initial plunk around and tune up. It all seems nicely put together. If you shake vigorously, the cable between preamp and socket plate does bang around, but I don't think that's a particularly real world test. In these post-Harley Benton days, I suspect that expectations of budget/economy/cheap instruments have risen far beyond what they once were, and I'd say that this lives up to those heightened expectations. A tiny niggle is that there's slightly too much A string wound onto the tuner, so it's starting to overflow. I could do with taking about a turn and a half off. Also it could do with a strap button on the neck end of the body - putting one on the treble string side of the heel, as Mrs Whelsh Ukulele Lady recommends, would avoid having to tie the strap to the headstock. Which reminds me, I should do that to my bouzouki too. I have yet to plug it in and check out the electric sound, which will also give a chance to compare these strings with the old silicone rubber Ashbory ones. For under a hundred quid (with a couple of voucher codes), it's very impressive.

So who is lucky enough to have a NYE gig this year? I hate NYE (overhyped nonsense) so am happy to be playing for other people and getting paid for it.... I'll be at The Grand Hotel in Eastbourne with The CoStars. What are you guys & gals doing?

Bought this about a both ago…cash converters. Had an unoriginal neck. It was lovely…but then spotted a nice 70s Reissue P neck. Game on!

Ibanez SR300E in Iron Pewter... daft £ and just around the corner

An old hippie who wrote songs for better musicians to cover.

I believe the journey is close to an end. Plugged these in and fired them up to find a very nice sound indeed. Personally I can listen to all genres of music quite happily through these, except classical which seems hollow and lifeless for some reason. Tips for the next person: Black screws. Someone of this parish pointed out they look more professional and now I cannot unsee it when big-bucks cabinets are sold with silver screws. Saying that, the screws to put in the corner protectors were like hens' teeth so I had to settle for either countersunk silver or black button head. You can see flashes of silver in the corners: function beats form every time IMHO The grilles are held on with black gaffer tape, because I didn't like the look of the four grille holding plates: form beats function every time IMHO. If you get decent wood and varnish it the results are killer. No idea why this isn't more of a thing in the professional world. Varnish is yacht varnish from Wilkos. £12 and I used less than half a tin for both cabinets. Next stop is the bc112mk3. Still need to buy a few things for that build but to be honest this pair of cabs is more than I'll ever need. I used one with an ABM600 and it rattled my teeth.

The 'back-up' pickup would deffo be a benefit. I have decided to leave mine as is in the end. I've had a lot of comments at gigs not only about the aesthetics and 'back story' of the bass, but more importantly about how it sounds which is a good thing

The ones in my bass are the 10-coil, one humbucker per string models. Those are the ones that are the closest match to the Wal pickups. They have six wires coming out of each pickups - one for each pair of coils, and an earth wire. The preamp is the Lusithand Double NFP Special - this is designed specifically for those pickups, with up to six inputs for each filter. Nuno (Lusithand's main man) also makes a version that works with regular pickups (the regular Double NFP, without the "special"). Herrick are now the only pickup company that are making pickups for the Special preamp - Rautia Guitars used to as well (they called it "new style" wiring), but they've recently closed their doors, and Turner's Wal-style pickups have more regular output wiring. Have a chat with Martin Herrick before you order - let him know what you're after and he'll help you out. He's very responsive to questions and I'll happily use him again. I have an idea for another project - I came across a kit guitar company that offers a Dingwall-style multiscale bass, and I was thinking of getting one and getting it kitted out with the Herrick/Lusithand setup.

Best thing is when you turn up at a jam with a bass that looks like you found it in a skip, and when all the guys with their Stingrays and Dingwalls and Sadowskys have been up and played root+5 for their three songs, you provide 10 minutes of aural chocolate ...

Me too.

Our NYE gig is still on, though Knock Off sadly had to pull out - new headline is Ed Banger and the Nosebleeds/Slaughter 2...

... which is what I've always had. Only because I need at least 19 easily accessible frets. Mind you, if somebody wanted to gift me a JMJ I wouldn't say no.

My first attempt at a fly-rig that’ll fit in a suitcase when I’m d.i’ing & relying on IEM’s Room for another pedal, but got all I need for the current set.. Pedaltrain nano+ sc Microbass 3 OC2 & Unichorus in the effects loop all powered by a ‘Onespot’

Most of that spray will go over the outside of the LEDs. You really need to take the volume control board out. Ensure that the mains power is off and completely disconnected, remove the top cover, remove the volume control knob ( just pull outwards) and undo the nut holding the pot and its board in place. There is no need to disconnect the cable just don't pull on it. Spray the rectangular pot body nd rotate the volume shaft over its whole range. In my experience this does the trick. If in any doubt take it to a tech to do.

Thanks for the tip, but I didn't touch the amp at all during the break. It wasn't operator error, it was a non functioning amp. I spent many years as a touring backline tech, my under pressure trouble shooting is still pretty good. I tried it again this morning, the power amp section is dead. I'm very happy that other owners have not had this experience. Luckily, gear4music has a good returns policy. I shall stick with my Markbass head, with Elf as backup.

New Bass Direct website with spelling blunder www.assdirect.co.uk

Originally (and still by some...) called a 'tug bar', it helped keep the bass vertical, and anchored the hand for playing with one's thumb. Here's some typical pictures of exponents at the time...

Decided to treat myself to a short scale bass about a year ago, so got in touch with https://www.wilcocklondon.com/ to ask if he'd make basses for lefties, and turns out that he did... So after a bit of wait and choosing specs (alder body with sherwood green finish, roasted maple neck with rosewood fretboard), it finally arrived. Looks and sounds fantastic so far, surprising versatile range of sounds, considering its simplicity (passive, 3-way pickup toggle, tone and volume controls).

Interesting how some the commentators on here, now seem to think about the huge wave of current disputes in such a polarised 'them and us' style. As far as I am aware, apart from employees with underlying health issues, none of the Royal Mail, NHS or railway and bus drivers etc, were given the opportunity to be furloughed and they carried on working, despite the risks, to keep the economy going, look after all of us in hospital, and keep the transport system running. People died doing this. The face masks and gowns supplied to hospitals, care homes etc did not arrive there by magic. The transport system needed to get nurses and health workers into their places of work? ... likewise. These workers carried on working for the benefit of our broader society. Not them. Us. All of us. Here we are now ... and workers that are asking for a pay rise that takes into account inflation are "shooting themselves in the foot" and should go and get a job elsewhere because otherwise 11,000 of them will be made redundant. Some of us have very short memories?

And…done: some minor tweaks but seems pretty good. Id played it a fair bit with the 60’s reissue neck on it, but this looks better:

So, after Saturday's 70th birthday gig, onto last night's wedding gig. Nice pub venue, but an interesting load-in through a rabbit warren of passages (Hello Cleveland) and up two flights of stairs, with the added complication that Mr Drums is currently suffering from a severe case of L5 nerve root compression, so a) can't walk far, and b) can't lift anything. Fortunately he lives about halfway between my place and the venue, so it was easy enough for me to stop off en route and help him load his gear, then we all mucked in the other end to unload and get him set up. The room we were in is normally used as a restaurant, and while there was plenty of width, there wasn't a whole lot of depth, so the "dancefloor" occupied about the same amount of space as we did. As it was, most people at the event only seemed to be interested in pouring booze down their necks and shouting at each other, so the area available was just big enough for the few people who did actually want to do a bit of dancing. Onstage sound was a constant battle between the monitors and the cackling crowd, but out front it apparently sounded good, as did my "Baby Trace" setup of AH200 head + BLX-110 cab. As nobody seemed to be in charge of proceedings, we just made it up as we went along, kicking off at 8pm and doing an hour, then resuming at 9:45pm and doing another hour. We dropped one longish, very wordy, song towards the end of the second set as Mr Singer was flagging a bit, but apart from that and a handful of off-piste moments, everything mostly went to plan. One moment in particular stands out - as we launched into our traditional second set opener "Call Me The Breeze", the front three all stopped playing when Mr Singer realised he'd forgotten to switch his new-fangled radio mic back on, but me and Mr Drums just kept the groove going until switches were switched and normal service was resumed, amazingly at the right point! All part of the act, obvs... 😉 We also managed to get the Happy Couple onto the dancefloor for our rendition of "You Do Something To Me" which went down well, and then the night ended with the pub manager joining us to do harmonies on "Stand By Me" - very good she was too. As the pub owner has invited us back to do one of their Sunday afternoon beer garden gigs next Summer, she may well get to sing with us again. Obviously, the most fun we had all evening was loading-out through a slightly diminished crowd of folks who seemingly had no homes to go to, but everybody was very polite, and also very complimentary. Quick stop on the way home to help Mr Drums unload his gear, and that was that. Mr Drums has been told by his physio to take at least two weeks off even touching his drums, so we're now on an enforced break from rehearsing and working up a number of new songs, but I guess it couldn't have come at a better time as we don't have any more gigs currently lined up. Onwards and upwards next year then, L5 compressions permitting. Postscript: Just had the following message from Mr Rhythm Guitar:- "Out of the gigs we've done, I've never had so many people come up to me and say what a brilliant band we are, and quite a few said how refreshing it was to hear songs that other bands don't play, and we play and sing them so well." Case in point - the number which got the most people up and grooving, and got the biggest reaction at the end, was Mr Petty's "Mary Jane's Last Dance". So, we must be doing summat right... ☺️

The suggestion of taking the thing to a tech is a valid one. His/her bill will be far less than what your life is worth.

Cain's wife Paula White is a crackpot of the highest order. Utterly insane. Claims to have walked around heaven with god and seen the spare parts department where you get replacements for limbs you lost in life when you get to heaven. Music and politics have been linked for a very long time. Some of the greatest artists have been very political.

I have a feeling that plumbing in the Herrick/Lusithand combo is going to be very popular. Will it reach Sue Ryder P bass proportions? Only time will tell.

I'm intrigued. Why does anyone need set list software? What does it do? I've always just written the set list down on a bit of paper and stuck it somewhere I can see it.

No longer available but I would love to have this (especially at the price originally offered).