tauzero

My ears have just gone on strike. I'm going to have to listen to THAT cover of Final Countdown to recover.

See Bug Hunt thread in Site News.

Only yesterday, one could see page numbers running along the bottom of the page that one could click on to go to that page. Now the only visible page number is the current one, although putting the cursor over the page number row indicates that there are clickable places, and indeed clicking on it will take one to a page. Useful for page number roulette, but not quite so good for selecting a page. Is this simply the foreground colour of the non-current numbers being set rather too close to black to be visible? No need to answer, it's in the Site News bug hunt thread.

Time to bring out the trumps.

Depends if I also have the funds available. If I was telling my younger self stuff: don't chop the Hayman 40/40 in for a Fender P. Get a Laney bass amp and decent cab. Don't buy a f*cking Lotus, they're a complete b'stard to fit a 1x15 bass cab into. If I was now a callow youth starting out, knowing what I know now but with a reasonable amount of money: I'd be unlikely to get the Sei fretless 5 second-hand again, so maybe an Ibanez EHB1505 as headless basses are so much better than headed, and/or get that HB 5-string fretless that's in the marketplace because fretless is great. Build a Basschat 1x12 and buy a reasonable lightweight amp (class D, ignore any bollocks about heft), or get a good FRFR active speaker. Get a Zoom B3n. Use Schaller straplocks.

Trucker?

I can tell you lot are but babes and sucklings. Listen to what we got subjected to in 1980: And there's a good half-dozen Paul McCartney songs, severalo decades worth of Cliff Richard, and Wam, and the list goes on. I was waiting for that very first song to become truly awful and it didn't.

That's very nearly a Trace Elliot 1x10.

The Megatar is an instrument with a purpose. Must start learning how to play mine. The 15-string is potentially useful but would need thinking about the tuning - bottom 8 strings the same as a 6-string but extended by one string in either direction (low F#, top F), and the top 7 strings as a 7-string guitar.

Can't stand Osibisa but the album covers are great.

Condition: Opened - Never used Hmmmmm.

I'm rather tempted by a doubleneck, but I'm put off by their description of the neck profile as "round D" which seems to mean fat Fender, or possibly fat Warwick, and it's a lot to pay to find that it's not you want.

Intact, fortunately.

They took great care of the 5-string Thumb sent to me from Italy, taking it back off the van, putting it on the next day's van, taking it back off, losing it, finding it, and letting me do the 50 mile round trip to pick it up from their depot as I no longer trusted them to put it on the van at their depot, drive it to my house, and deliver it. But most of us have bad experience of one courier or another, and that's the only bad DPD experience I've had.

Apart from being fugly, headstocks wreck the balance of basses. Warwick really missed a trick not making the Thumb headless as they planned at one point. Still, each to their own, and you have my sympathy.

I played in a club band with a Black Country vocalist. She used to introduce it as "Youm sex am on foyir".

One swallow doesn't make a relationship.

I mostly do, but I have put in a preemptive veto on "Red red whine". We do some early UB40 stuff though, from when they were good.

It's one of the great examples of the Dunning-Kruger effect at work, generally amplified by alcohol.

I can't remember what I quoted to her, but "Daydream believer" popped into my head while I was writing that post.

I can do backing vocals to some songs but on others I can never find the right pitch. I just establish what I can sing to and shut up for the rest. The club band that I played with for some years had a singer who was a right p!sshead. He would randomly swap verses and choruses, and start vocals seven bars into a 12 bar solo. The guitarist and I would just exchange glances and we (and the drummer) would follow. We kept getting gigs though. He used to ask if anyone in the audience would like to sing a song and then we'd be expected to play whatever the random drunk who wanted to sing fancied singing. Mrs Zero had a problem with some of my songs, where the vocals start before the one (ie. at the end of the preceding bar), insisting that nobody else did that. Examples aren't hard to find though, and she eventually got it. Tambourines - rule 1 is never leave a tambourine within reach of the audience. It's amazing how they can be heard over PA and backline, generally out of time. Just get rid of the sodding things.

You're TimR's alter ego, aren't you? https://www.google.com/search?q=professional&oq=prof&aqs=chrome.0.69i59j69i57j0i131i433j69i60l2.2462j1j7&sourceid=chrome-mobile&ie=UTF-8

So you haven't looked up the definition, or you don't understand it. What a waste of space you are. Clue: it's when it's your main occupation and you get paid for it. Do you understand "main"?

I suggest that you look up the definitions of "professional", "main", and "occupation" because you're hoist by your own petard.

I'm surprised that there's all this fuss anyway, since the clap became a unit of currency a year or so ago. The number of rounds of applause you get should provide an excellent income, at the rate of exchange of one round of applause per 1% of a nurse's pay.