tauzero

You can view PDF files on your tablet, just get Adobe Acrobat reader. I used PDF files on my tablet for similar purposes. I transfer them using Dropbox - I'm too cheap to pay for Dropbox so I have to access it via a browser on the tablet, but I just create them in Dropbox on my PC or laptop and then download them onto the tablet so I don't have to rely on an internet connection to see them. Another reason for using PDF files is so I can use a page turner - more for songs where I'm singing so I've got the lyrics too and it goes past a page. I use a Lekato page turner (can't remember whether I set it to portrait or landscape) and set the PDF viewer to single page mode rather than continuous.

Sometimes the Downing Street OBs provide great entertainment.

Thelema Instruments website at thelema-instruments.de no longer exists. However, it's on the Wayback Machine and the Antbass is a different kettle of fish. https://web.archive.org/web/20131207080247/http://thelema-instruments.de/antbass.html So the original question still stands.

And half a dozen basses for the raffle.

Browsing around the Bass Gallery website, I happened across an Antbass Pharoah: https://thebassgallery.com/collections/bass/products/antbass Headless neck-through bass - just the thing to pique my interest. But only four strings. So I set off on a quest to find out about Antbass, which came to a very rapid conclusion when there was absolutely no sign of them on the internet except for this very bass. Does anyone happen to know who, what, when, and possibly why? Judging by the photos, it has a distinctly used (but looked after) air to it, and the brass cover which I assume conceals the truss rod access looks a few years old.

I remember us getting stuck in Maria once. Came out of a chorus, did a verse, then the bridge, then instead of going into the chorus again, Mrs Zero went back to the verse, then the bridge, then a verse again. Realising that we were in a death loop, I started singing the chorus after the bridge came round again and so we managed to finish it, otherwise we'd still be there. It is a bit of an odd arrangement though, the bridge can either precede or follow the verse.

Did the old desk have wireless control, and if so, did they have a look round the congregation to see if someone had hacked into it?

Coincidentally, the guitarist that Mrs Zero and I are collaborating with for open mics has suggested One Way or Another, which Mrs Zero and I used to do in the old band (the stalking song). So I've been brushing up on that today.

Three wedding rings (consecutively, not concurrently) and never had any problem with any of them.

That's an awkward one - IMO unless you're a tribute band the 9 minute album version is too long but I don't want to lose a verse, so we're working on a hybrid using all the verses and choruses but with the short version of the instrumental from the single version.

Robin Smith's ensemble at The Alexandra theatre in Birmingham, on the Tubular Bells: The Best of Tubular Bells I, II & III tour. Very impressive performance, the only bit of a let down was the bass - audible in the mix but I suspect using a P with flats, it was just a dull thud with no mids and absolutely no treble giving not a lot of pitch information. The ensemble was Robin Smith on keys, accompanied by two guitarists (one of whom played the clavinet on the instrument introductions), one bassist, one vocalist, one cellist (playing an NS Cello), and two percussionists playing everything hittable, from a stock drumkit to glockenspiel and (of course) the tubular bells. First half was excerpts from Tubular Bells II and III, plus Moonlight Shadow, second half was all of Tubular Bells. The musicianship was great, as was the sound in the main (the thuddy bass didn't spoil it), the female vocalist was tremendous. The guitar tech/roadie kept doing the guitar swaps for one guitarist, while the other guitarist had to swap his own guitars - not sure why that was. Anyroadup, the tour continues, and I'm sure tickets will be available at other venues - the Alex was quite full but it wasn't sold out.

Always the whining about Coldplay. Stop the bitterness and envy, before it destroys you.

Microfrets so they can get quarter tones in the lower part of the neck.

I have encountered a fretless Squier, presumably unlined as the dots were at the fret positions, which had subsequently been fretted. It was astonishingly hard to play as I couldn't work out where to put my fingers.

Which 200W amps have you used for home practice and found too loud? The volume control is effective on most, if not all, amps, and will reduce the sound level considerably when correctly applied. If you're using a 100-200W speaker, it means you're less likely to accidentally blow it. I use my 200W TC BAM200 head in preference to my 900W Tecamp when I'm using a small cab (house jam micro cab, and, when I've finally completed it, BC 8" cab). Still managed to blow an Eminence Deltalite 2510 mk2 with it (poxy "Made in USA" rubbish, give me reliable Chinese stuff any day).

I use a 200W amp both at home and at an open mic night, combined with a @Phil Starr 6" micro cab. I use a bigger amp and cab for pub gigs, with the 200W one as a backup. Can't see any problem with having a 200W amp for a wide range of use. After all, 40 years ago I was gigging with a Laney 150W head, which was all the power you needed.

Non-standard by whose standards? The primitives of the USA? As this is an entirely rational prejudice I suppose it shouldn't be in here, but metric is a far superior measuring system to imperial (and which imperial are you using as the standard?), and the UK has been metric for 60 years, so why the f*ck do people still want o use imperial? I will make certain exemptions - tyres, loudspeakers, and televisions have become standardised as measured in inches. Nothing else should be. I'm just off to play my 865mm scale bass.

As you say, there's no locating hole - I assume that they butt up against a stop to locate them, can't remember if the screw itself held the reed in place or if there was a metal clamping piece. In fact, looking back (at around 5:30 onwards) it seems they go into a narrow slot and are held by one screw per reed, but I did wonder if there's a pair of overall clamping screws which clamp up that narrow slot so the actual sounding part is the part that emerges from the clamping piece. Aha! just gone back again - at 5:17 and 5:26 you can see that a bit further back from the row of screws that hold the reeds, there's a couple of countersunk holes which are rather beefier than the reed-holding screws - I think those would be the ones to clamp the top and bottom of the reed holding strips together.

Yes. I've started a build diary for one, including how to chop up a 1220 x 610 sheet with a circular saw should you not have a proper table saw. On a hiatus awaiting better weather at the moment so I can repair the latest cock-up.

Snoopy: 😁

We get the occasional extended solo, and the lads do get excited... I can't climb onto chairs these days, I just have a walk around and a sit down.

Conventionally that's where the dot markers go on a lined fretless, whereas they go where the frets would be on an unlined. I had the markers moved on a Sei lined fretless with very faint lines so they were on the fret positions, and another faintly lined fretless already had them on the fret positions. Conversely, I have a defretted Squier VM 5 Jazz - maple board and black lines, with the dots remaining in place, and that's not a problem. I'd be inclined to find an equivalent fretless rather than have it defretted.

Just to follow on from those events, there's a report today that the motorcyclist died after a collision with a tractor. On a happier note, Mrs Zero accompanied me to the open mic tonight. I didn't take a guitar, as one of the hosts played guitar for us on some songs we'd prearranged. Very enjoyable evening, kept me on my toes as there were three songs I didn't know - cue rapid exploration of Ultimate-Guitar.com to find the chords and squinting at my phone to follow them. And I jumped up to play "Nights in white satin" with one performer, and then discovered that he was tuned a semitone down, always a recipe for disaster.