tauzero

Yes, this thread started off about TNT though. I've insured musical instruments for somewhere over £1k with UPS and couldn't find anything in the small print about it not counting and they'd got their fingers crossed when they sold it to me.

I didn't realise it was that time of day already. Thought there were still a few hours to go before the next "I love P/I hate P" thread.

Depends on the courier.

There were a couple of songs that I loved doing live, not from the technicality point of view (they're not exactly complex) but the energy of them - "She Sells Sanctuary" and "Don't You Forget About Me". I think that's a total of eight notes.

I manage to unwind mine, but only after I've stood staring at it slack-jawed for a minute or two, working out the topology. It would probably be quicker to take it off and put it on again. Off at a tangent - why is it that no guitarist (apart from me) uses straplocks, regardless of how expensive their instruments are? Every time they put a twist in their straps, I have to tell them otherwise their guitars would fall off.

They supply a 12V 2A PSU in the box, so it's ready to go. I looked at the ISO4 but it's four a side and physical constraints meant the single-sided ISO8 was the more practical option.

It must be nice to be in a band that's instantly recognisable by everyone who sees the poster.

One guitarist I knew was a leftie who played right-handed. Played well, too. However, this preyed on his mind for some reason [1], and eventually he bought a left-handed guitar and learnt to play that. [1] He was a bit odd. The one and only gig that a band we were in was supposed to play, he didn't make it, as he'd thrown himself into the canal that afternoon and was in hospital, so we had to borrow another guitarist. Probably not due to being a leftie though.

Ditto. And my guitar stand is built in to my stool so as to make it really really obvious.

I've just checked, plucking the strings at the midpoint of the speaking length (so plucking at 24th fret when fretting E string at 12, 19th fret when fretting A string at 7, 14th fret when fretting D string at 2) and the E string is more bassy, the D string the most trebly. Admittedly I haven't moved the pickups around, I suppose I should try it with a piezo bridge bass.

"We can lose an elephant and break an anvil".

Surely the sweary filter is set up wrong? After all, Johnny said " I hope all your doughnuts turn out like Phanny's" so it should be changed to doughnut, not craddock.

If I play the same note on three different strings - say a B on the B, E, and A strings - the sound is, for want of an objective term, thicker and fatter on the lowest string and gets thinner and more trebley on the thinner strings. Are you saying that I'm breaking the laws of physics?

If the G30 is like the G50, there are two power modes on the transmitter - my G50 has been somewhat unreliable at any distance but I've realised it was on the low power setting. I have yet to try it at the high power setting. I've got a Smooth Hound which has proven reliable wandering round the average pub.

Just hang a banner straight across the stage from each of the speakers. Go for the air of mystery.

The break angle is the same on all the strings. With the strings anchored right by the nut, they're held firmly onto the nut. When you add to that the lighter weight, better balance, and better looks of headless instruments, it's difficult to understand why people persist with heavy, neck-diving instruments with ugly headstocks... 😁😁😁

I played there last October with the originals band. It isn't as if we have that many gigs, but I have no memory whatsoever of it, and I generally manage to remember something.

It's rather unlike me, but it's the more mundane of the Atlantsias that appeal to me more. If the photos were a decent size and the website wasn't so Geocities, I might have a different opinion.

I had a fretless 4 about 15 years ago. Lovely bass, great neck, but I was used to heavier basses (Hayman, Fender, and Warwick) and I found the incredible light weight rather unsettling. Now, old and feeble as I am, I'd find it rather attractive.

I think I've got 14ish natural basses and no painted ones - the three Seis are lacquered though. Apart from liking the look, an unlacquered natural bass doesn't show the minor knocks that knock chips off painted basses. I sold an immaculate black Hohner B2AV and replaced it with a natural one because I knew it would get chipped eventually.

They're slap plates. They are brass, set into the fingerboard, with a microphone set under them which picks up the percussive sound from them and adds it to the pickup output. I think the mini toggle switch turned that on and off. Only really useful for those weirdoes that play slap.

No. But I never said it was. And indeed, that's not what the topic is about, nor what I was replying to - MoJo said "it's hard to hate a Precision", and I was citing a Precision that I found it remarkably easy to hate. I will freely admit that I didn't own it though. And on the whole I don't hate Precisions, I just consider them as the grey porridge of the bass world, the equivalent of the BSA C11 in the 1940s in motorcycling terms.

You are somewhere that you don't need to explain a sudden desire to possess something which will be of no practical use whatsoever, simply because you are attracted to it. I'd rather like one, and a Trace ELF, despite having an Ashdown MiBass and a MarkBass 250 as backup amps already.

It looks like a Fender and a Cort have mated, and then disowned their offspring.

I saw that earlier this evening and wondered if it was my old one - it had originally been lacquered but the lacquer was dreadfully cracked and I stripped it off, but I didn't make a terribly good job of finishing it. Chopped it in at Musical Exchange (for any familiar with Birmingham last millennium), can't remember what for. If it is my old one, the body's been cleaned up and properly treated. Oh yes, and the body is inconveniently wide so it's hard to find a gig bag or case to fit it.