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Just completed the 2nd to last weekend of gigs on our 'Bootleg Rock Show feat. Leather & Lace' tour! I'm loving it so much I don't want it to end.... but I'm sure we'll do it all over again later this year/early next year and possibly some European dates to come too! 👍😉 Friday We played a fun 'club' gig at The Concorde Club in Eastleigh, Hampshire. Stripped back production but same setlist and a much more intimate setting made for an enjoyable night for all... Saturday night was back to theatreland at the seaside classic Hunstanton Princess Theatre on the North Norfolk coast. Probably the best audience response so far on the tour...and we're really playing as tight as a 'gnat's chuff' now! 😉

Two fantastic shows this weekend. One was a private function for a super-wealthy individual. We played in front of his lake on a mezzanine over a swimming pool and koi pond (and gymnasium with boxing ring). It was quite the eye opener into a very different world. Last night we closed a local festival to a brilliant crowd, many of whom had turned out just for us. We had a pro crew in filming too. No proper pics yet, but I’ve swiped a few from people’s facebook pages.

Just been sent a link to a video of one of our songs from Friday’s Buckle and Boots set

Next is lining up the bridge. If ever there was a 'measure 14 times, drill once' it's this! First thing I did was to check the full movement of the bridge rollers from fully forward to fully back. Probably enough for a square-on positioning - but there's no point in even banking on that and so I will incorporate a modest backward sweep to aid the intonation of the bass strings. Then to position, I fitted a couple of strings, threaded through the stop tail to the outermost tuners and taped it into position. I could then slide the roller bridge under the strings and position it to scale length on the top E with the roller fully forward (intonation for the top E is usually relatively close to scale length but, if anything, will be a teen bit further back - it will never be shorter than scale). Then, once I'd positioned it so that the two strings were where I wanted them in relation to the fretboard sides, I could press the spike of a bradpoint drill in to mark the centre: Then use a forstner for the bridge insert-holes: And finally, with fingers crossed, hammer the inserts in and try it! Big phew! Then the same process for the stoptail. And, at this stage, I couldn't resist a quick mockup . There's actually a LOAD of stuff still to do, but my excuse for the indulgence is that I need Alex to 'play' the fitted strings so that I can fine tune the profile to his specific needs...so that means, at least, that the 6 strings need fitting. And surely they would be lonely without a few knobs and switches teetering at their intended positions: Oh - and it would be churlish not to wipe some of it with a damp cloth to see what the final colour is going to be ... I think it's going to be quite a pretty guitar! And that has Basschat up to date with Guitarchat. There'll be a week or so's gap before any more progress - I need Alex for the final fit of the neck profile and his availability and mine over the coming week or so mismatches to an almost impressive degree!

Two gigs this weekend for Mustang Sally, on Saturday a private party in Devon for an 80th Bday, we were worried that there might be Zimmer frame clashes on the dance floor but far from it, lots of dancing, happy punters and help getting our gear in and out of the venue! Sunday played a mini festival in north Dorset, outside stage with full pa, problems getting my 4H Bongos line output tame enough for DI but overall an ok gig, punters busy soaking up the sunshine and cider so not much dancing... Knackered this morning, glad to be painting a fence for relaxation...

Isn't one of the main reasons for switching between fingers and pick to get a different tone?

My 72 Jazz

Mmm.. Unicorn

A few pics from a few weeks back at the NABD rally in Cheshire. Was nice to be rocking the Fallout Bass.

Played a very nice large social club on the outskirts of Harrogate last night. As we walked in the consec explained that the clientele were a bit jaded with live music as the previous consec had cycled only 5/6 bands so he was taking a punt with us having just spotted us online. He also said it might be a bit thin on the ground but if we’re lucky we might get a few dancers. …….anyway the word must have got out as the place was rammed with punters many in 70s glam dress and the dance floor was full from half way into the first spot. Just goes to show that some thought can really make a difference in some of these trad social clubs. Glam Fever, proudly bringing glam rock to the masses since 2015.

As someone who plays both finger style and with a pick in our set, I guarantee that the only person who will consciously notice any difference is you.

nah, anyone can do that. Produce it again from the guitarists left nostril? #magician

Took both cabs to a show on the back of a trailer in Aylsham, Norfolk on Sunday. Playing to a pub courtyard about 60' x 40' Coupled to a TC BH800 Yamaha BB734A in passive mode No PA support. Just my cabs and amp. Did the job well. I was very pleased.

Oh my god. I think I’ve just had a very wet and possibly religious experience…

There is probably no other rational place to be. Morality or even taste aren't subjects for objective measurement or double blind testing, there isn't an objective right or wrong so people who are 'certain' that no song with the sexism/racism/whatever 'ism you choose is acceptable if it is a good 'toon' are displaying no more insight than those who wish to cancel those who offend their personal creed and sense of decency. It's only reasonable to struggle with this and the interesting bit of this debate are about where the lines are for each of us who are also wondering where to set our personal lines. Playing in a band means compromise. No two people share the same moral space IME so the chances of four or five band members who have nothing in common other than music agreeing on every song are pretty long odds. There are very few artists or songs that are completely repugnant amongst thousands that are wildly popular and fun to play so it isn't a big issue. It is interesting though to discuss with those who like me are 'indecisive'.

The vacuum left by the decline of religion has been filled by the Internet, and why not? After all, facts, science, proof and considered opinions are 'difficult' they take education, thought, reason, the ability to discuss tough topics in the abstract, why bother actually thinking when you can go online? There you can find other folk that believe what you believe (without any basis in fact and untroubled by a moral compass) and you can gather on a platform from which you hoist your flag and shout your own horse shít variant. Argue all you like but the age of reason has gone, history and facts are there but they need reading, engaging with, as does any subject, to understand and comprehend where we currently are but with the infinitely pliable echo chamber of the Internet as an alternative to books, learning and understanding... well, we haven't got a chance.

I do think it needs recognition. While not religious myself its a fact people need a smaller community than modern cities and some faith to anchor their life. Basically we need tribe and faith which expresses itself as football identity, subcultures, flag waving whatever. I dont think religion is the answer but the evolution of society coupled with the turbo connectivity of social media has polarised people and sharpened divisions. We could all do with a little effort in listening to the other viewpoint. I also remain thoroughly indecisive about the topic at hand...

My MIM. Been around for roughly 13 years. Changed the guts to active emgs, and replaced the pickguard with a dodgy cheap one (not sure why, I'm still not convinced by it). Will never sell it, my longest serving bass. I want a 5 version badly.

However, if we ALL say we are going to take matters into our hands...

Bus Drivers Prayer - Ian Dury

had to get this one in for try its def different to the boss Hm2 but def has some very cool additions

Algerian vibes.

I've always liked the look of the Hofner Club basses and one popped up locally at a good price so I snagged it. This wasn't a totally random purchase as I have a shoulder injury/issue which flares up now and again and I'm liking short scale, light basses for when it gives me gip. Any ways... bass arrived needing a massive set up as it had a stupid high action: nut cut 3mm lower (yes it was that bad) and I took out the floating bridge adjuster grub screws so I could get the bridge down and not have 5-7mm of grub screw ripping my palm. Got it all fettled and started playing it in earnest... Well it's a feisty booga and notes seem to bloom in odd places, where others are slow to sing. Added to which it sits nice on a strap but I like to play/mute over the bridge and I ended up wrapping my finger around the piece of wood (yes it is basic, check it out), this lead to filing and sand papering to avoid discomfort. This all aside, I decided to gig it straight away. This is where the challenges set in 'big style'! The bass is hollow bodied and the bridge is floating which gives some interesting resonances, this lead me to tweak EQ but I was constantly aware that playing in certain ranges/areas I was going to need to moderate my style... it also meant I could border on creating feedback/sustain and on some passages I was muting to stop it going off on one. I generally never have to do this on any of my regular basses (34" solid bodied basses); maybe the odd room resonance. It was really good fun, trying to manipulate the instrument to get what I wanted or to use to add/enhance. It wasn't life changing and I've encountered stuff like this in the past but to have to work with and around an instruments weaknesses (or is it a strength?) was good fun. Maybe I'm just tired and bored of the songs I'm playing! LOL

Well, she turned up and she is good....welcome the new 'Ruff Pub' Bass

Ashdown's current ABM600 design is based on a 4 ohm minimum load recommendation and the whole output stage including the output board and components, cooling, thermal cut out switch, fuse values and transformer are geared for that. With most amps, exceeding design limits usually only ends one way, and thats an expensive repair bill. At a guess the first symptom that the amp wasn't happy at 2.67 ohms would be the thermal limit switch cutting in early dues to excess heat, something that i've never experienced on these amps run at 4 ohms. The transformer might also be prone to over current damage and thats if you didn't blow fuses first. They are quite strong amps and in real world use an ABM would probably run at 2.67 ohms at a reasonable volume for a short while at least before something would fail prematurely. There probably is a way to do it but I daresay it would cost a bit to re-design and build an ABM output stage that would be happy to run all day at 2 ohms or thereabouts. Definitely a question for the Ashdown engineers.🙂

I guess you could say he Cort them red-handed

This is why Ronnie and Reggie were such a formidable team. None of this “either-or” nonsense for them.

This Basslab double neck would do. Every single aspect of it utterly captivates me. If I won the lottery the thing I would do would be to commission a replica but with Kent Armstrong pickups.

Whoa whoa whoa, I'm all about the stabbing. BLOCK AND DELETE FOR YOU!

We agree? Excellent. Let's go shoot anyone who doesn't... 😉

Owned a lot of amps through the years and the ones which stick in my memory are: Eden WT550 Ashdown CTM100 Trace Elliot TE-1200 The Trace is just a superb platform for putting whatever you want through it and it always sounds incredible, effortlessly powerful and looks cool. I haven’t had any amp GAS since getting it. Which is mad because normally I want something new every three weeks 😅

I tried it and it did help. Hoping to try out a short scale bass on the next few days to see if it really helps. If it does, I'll be shopping for one.

Any excuse for showing a bit of Rob Mullarkey. Here, he's playing his interpretation of Jeff Buckley's 'Grace' with the wonderful Natalie Williams on vocals.

Come As You Are ～ Nirvana

Manic Depression ～ JMH

I'm 62 now, started in my late 40s. Still terriblke, but less terrible than I used to be.

The Steinberger tuners are pretty easy to fit, although this little pin hole does have to be in the right place! And tuners temporarily fitted for me to be able to set up a couple of strings to position and line up the tune-o-matic bridge before the scary insert marking and drilling! Still some more curve carving to do, but I was pleased how this is beginning to look:

This is why you have to be careful what you post on a public forum. These comments could be interpreted a number of ways. Given that we don't know what will transpire when you visit the 'next show', if things escalate and the Police are called, you've already played your hand here. To be clear, I'm not defending MM. If half of what I've read is remotely accurate, then he deserves to be held to account for his alleged misdeeds. You'd also be a fool to think he is not monitoring this thread.

New pick guard on my 83

'Kin HUGE!.. How do you get it thru the door? Is it a guitar-looking Electric Upright Double?