tauzero

Not to mention never-ending.

Generally £300, which is also what gigging through agencies pays. Haven't done an NYE for years, did a few with a club band (three-piece) and got £900 a time then.

Same here. I can guarantee that I'll have lost it by the time I need it (although a few did turn up when I was going through one box a few days ago, so the fretless Thumb and the SRF705 may get treated shortly).

It was the 6-string Pedulla fretless that you posted a link to.

Lekato MS-1 - wireless adapter for headphones. Then get a wireless system for the bass (Lekato do a few of those too). Alternatively, as I think someone recommended on page 1, a Nux Mighty Plug. On the left, Nux Mighty Plug. On the right, Lekato MS-1 at top and Lekato WS-50 underneath (the Tx and Rx labels are mine, easier than trying to read tiny lettering in the dark).

UB40 should have called it a day rather than becoming an awful cod-reggae covers band. I went to see The Who a few years ago. Daltrey has lost his upper register but has adapted, pitching the vocal lines lower, and while it didn't have the impact of the original it was still good.

I'll have a 6-string unlined maple board that @TheGreek made me buy and a 5-string lined mystery brown wood board.

You'd also ideally need to use a profile gauge to show the shape of the profile, which makes a considerable difference in the feeling between necks that are the same width and depth.

If you're after an actual bass rather than a U-Bass, the Ibanez Mikro GSRM25 is a 28.6" scale 5-string. I don't know if you'll get any shorter than that with metal strings.

PS. As soon as I got home, I whipped the back off and the problem was quite evident - wires had come off an inadequately tinned speakon terminal. I had also realised that the sockets were upside down (the plug catch was on the bottom not the top) so I also rotated the socket plate 180 degrees while I was at it.

He's just a snivelling little troll.

Anybody worse at bass than me is incompetent. Anyone better at bass than me is an exhibitionist.

The more observant of you may have noticed that I made a truly awful job of the carbon fibre wrap, mainly (I think) due to using a wholly unsuitable glue. Every time I looked at it, it seared into my soul. So I took it all off, ordered some leatherette and 250ml of Evo-Stik (formerly the sniffer's glue of choice) and tried to get it right this time. It is a definite improvement, albeit still not perfect. I finally got round to mentioning this because I have used it in anger, or at least mild annoyance, for the first time. There was an open mic night I'd not been to, and I took the cab, a Tecamp Puma 900 amp, and a bass with me in case there was a need for a bassist. It so happened that a couple of others that I knew from another open mic were there and both asked me to play bass, so I set up the amp and cab and - nothing! I swapped the speaker lead to the other socket and it fired into life (that was the mild annoyance). It sounded good to me, a full sound without the upper end bite that a tweeter gives, which exactly suited my needs, and it had easily enough volume to match the small PA and cajon that were in use. Now, do I build the 8" one too?

At one recording session we were doing a song I'd written that was in 12/8 (probably) - quite straightforward, essentially the guitar part was strummed as 3/4. The guitarist could not get anywhere near it, so I had to put down the rhythm guitar. He put a solo on it, which would seem quirky to anyone who didn't know the history and would seem that he didn't have a clue what was going on to anyone who did.

So it would appear that the only difference is whether the level of bias changes with knowledge/ignorance (Dunning Kruger is true) or whether it remains constant.

I found this article https://www.psychologytoday.com/us/blog/how-do-you-know/202012/dunning-kruger-isnt-real which seems to me to be fundamentally flawed because if everybody has a positive bias then the "perceived" and "actual" lines can never intersect, "perceived" will always exceed "actual".

I've chosen to put the HPF first, before the compressor. I don't want the compressor to be operating on inaudible frequencies as that will mess up what it's doing to the audible ones.

Build one?

I've got a bit of tilt back on my combo, by putting a laptop stand under it, but I wouldn't mind lifting it a bit too. How far can you lift a cab before losing the floor coupling?

Kala do a hideously expensive one. They used to do a far cheaper Chinese one but it was discontinued years ago. AliExpress - https://www.aliexpress.com/item/1005005856491540.html - I'm rather tempted.

Thin Lizzy - Dancing in the moonlight A bit left field - from Grease, both "Summer Nights" and "You're the one that I want". I'm not sure if the BC thought police will permit me to like them though.

I have only occasionally been sacked from bands for not being good enough. Mrs Zero insists I'm as good as Victor Wooten. Possibly I am, right up to the moment he starts playing. I think she's got Dunning-Kruger by proxy. I'm pretty competent as long as slap isn't required, or anything at full-on doom metal speed.

"Dark" to me implies sinister, but the only sinister basses I can think of are the Warwick Vampyre and the very short-lived Fender Sauron.

Going back to that original question - 400W with a sensitivity of 100dB@ 1 metre for 1W = c. 128.5dB for just the one cab for the full 400W, c. 125.5dB if the output is 200W with an 8 ohm load. So a single cab pushed to 400W would be as loud as an entire concert. I'm another one who gigs happily with a 1x12 (BB2 until a couple of years ago, then a GR Bass combo).

You'd have done it all if they hadn't red-flagged the race.