paul_5

Carter USM!

My experience of ‘wagon wheel’ prior to it being called at my only rehearsal before a few dep gigs was of a slightly disappointing chocolate-esque biscuit.

This. This is the reason we get paid for it; we provide a service to venues so they can draw punters in. Most of the material for covers/function gigs I’ve done has been outside of my usual listening repertoire. If you don’t want to play it, don’t take the gig.

Definitely shield the cavities - that's one of the best, cheapest mods you can make to a bass. series/parallel is a great option for a more punchy, mid-range sound. I've put Wilkinson pickups in all my basses (J, P and MM), and much prefer the sound of them to the 'Duncan Designed' that some of them came with, but it's like a singer' microphone choice - there's just no alternative to testing out as many as you can and finding which ones work best for you.

Awful demo though. edit: the pedal itself sound really good, but that bassist’s timing is erm, ‘loose’, and gets worse as the video goes on.

The biggest snare drum you can find, and an electronic kit to switch between ‘Simmonds’ drum sounds, 808/909 noises and more ‘trad’ drum sounds. this guy has made a 20” x 6” snare that looks perfect!

Good job it’s not a curly lead, could you imagine one of those into a 90 degree jack?!?

in passive guitars and basses the pots will be Linear for tone, and Logarithmic for volume - but they are interchangeable, it's all down to personal preference. Tone pots are LIN because it's generally more useful to have a constant rate of change on your tone i.e. a 1/4 turn takes 25% of the top end off (there's more to it than that, but it's a whole other rabbit hole), whereas the ear perceives changes in volume differently, so using a LOG tapered pot is the norm. Like I said, nothing will explode if you use a different tapered pot, but it's considered more useful to use LIN for tone and LOG for volume.

The’d go for a Jackson Kelly every time.

is that so? I think you might have stood on my head on more than one occasion!

those bügger's grips, for example...

if it came to a decision between the two then I'd say it's easier give the sides of the neck heel a light sanding than the neck pocket - being able to sand a 90 degree internal corner (assuming you're doing it by hand) without leaving a step (and therefore not getting the fit perfect) is difficult. Then of course there's the radiused corners...

I use a Prunes&Custard into an OC2 when I’m not going for a digital synth sound from the Zoom MS60B.

Right, that's it! I'm Boycotting this thread!

It takes longer to take the board out than it does to fix this though.

I'm all for mobile rigs Stew, but do you not struggle getting your feet inside the boot of your car?

Or set it to trigger the tap tempo function.

I’m willing to give you something for it if you want to part ways with it.

I use mine for synth sounds and modulations. The reverbs are pretty good too, but I’m not a reverb user on bass. I’ve run my guitar through it whilst using the compression and reverb and it does a pretty good job in those departments too.

This. 4 to a bar. Always. The sound of an upright can be faked (to a degree) by muting the strings with your hand at the bridge, and plucking with the side of your thumb - really gives a 'thunk' sound.

This sounds like it’s the sort of thing you’re after; 12 bar blues with lots of ‘extras’ to keep things interesting:

Awesome, this is brilliant!