tauzero

John Entwistle Jack Bruce Trevor Bolder Dennis Dunaway Victor Wooten Charles Berthoud Pete Trewavas although the first three haven't done much for a while now.

To try and stop him screwing anyone else?

You obviously need to swap your 5-string Sei Flamboyant for a 5-string fretted Warwick Thumb, which I happen to have just here.

Thanks. We haven't had any, but I'm not the only band member with admin rights (and even I have been caught out recently, fortunately without bad consequences) so it seems like a good precaution.

I've only got DBEs on one of my headless basses. One of the Seis can take either DBE or conventional, and I've just moved to conventional so I can put nickel 40-130s on (it's fretless, so I thought I'd try nickels to reduce fretboard wear).

I did get to tell Dave Cousins that he was a big influence on my songwriting about 30 years ago. I'm not sure how much of a compliment he took it as, as he (and the other Strawbs) had just heard the duo I was in doing our support slot for them.

Normalising eliminates the perception of tonal difference caused by volume difference. Having the original recordings at the levels that the cabs produce means that any underperformance is not masked. Recording set 1 - original recordings from cabs, with amps at constant volume settings Recording set 2 - normalised versions of recordings, eliminating volume perception issues Nobody else seems to be having trouble understanding this.

That is exactly why I suggested what I did. One set of recordings at the different volume levels provided by the cabs, another set which are the same recordings but all normalised to the same volume. I did explain my thinking.

If you can't, it's very easy in Audacity. File | Import | Audio to import an audio file Select | All (or Ctrl-A) to select the entire track Effect | Volume and Compression | Normalize to normalise it File | Export Audio to export the normalised file

I suspect the latter. At least it would be well-nigh impossible to relic it.

I've ordered some non-spray Murphy's soap for use on my defretted 2000 Thumb as the body has always seemed rather dull, despite applying Warwick lemony stuff to it and rubbing vigorously.

Was the next one "When doves cry"? We've got enough songs for two sets plus maybe another 10 songs so we're not under any pressure to bring more in, we just like to learn new stuff. We generally have three or four being brought on at any one time - we'll decide what to do, run through them at the next rehearsal to make sure we're OK with them and think they'll work, and to work out endings, then run through them again at the following rehearsal to get them firmly in place.

Wonderful playing.

Bright - rather trebly. Woolly - somewhat indistinct. Dark - sinister and malevolent.

Indeed. Some people actually find singlecuts attractive.

Although I'm mainly prog, I do like a bit of glam too. Alice Cooper - Love It to Death. Hallowed be my name Second Coming Ballad of Dwight Fry

It's got a humber pickup but not a humber bridge.

Presumably that's why you advocate using nothing.

Why cloth covered wire? Also, you don't need to replace the jack socket if you go passive, just leave ring unconnected or connect it to sleeve.

They're pioneering a new form of short scale.

One email list I'm on just puts a name in the email subject, nothing else, to signify that they've snuffed it. This has led to me having the occasional double take in BC when some bassist's name is the subject of a topic. Still, I wouldn't worry too much about lacking empathy, as Annie Nightingale probably isn't reading BC.

You might not find it easy to get a stacked log and lin pot, which is what you'd need for stacked vol/tone.

Just what the world needs - another Fender clone.

You might consider a multieffects pedal that can handle both guitar and bass. Don't bother with an amp.

The licensed ones appear to have "Hipshot" on them, although Hipshot may have been lazy and used photos of their own products to illustrate the licensed ones.