tauzero

A few bands ago, in a trio-plus-vocalist, I was teamed with a very good drummer who was also very inventive. We did "Sultans of Swing" - the original, of course, has keys and a second guitar as well as the lead guitar. After we'd rehearsed it a few times, rather than upping things when the first solo came round, the drummer dropped back. I realised what he was doing and followed him, so we were really underplaying below the first solo which suddenly didn't sound empty. The second solo got full tilt boogie which worked well, but probably wouldn't have without that alternative dynamic on the first one. It wouldn't work on a guitar solo using searing distortion, but fitted nicely with the slightly overdriven Knofler tone.

A, but I'm doing a mix of B and C on Sunday - about an hour and a half away, support, unknown audience size, fee? What fee? As, indeed, we did a couple of weeks ago.

It's normally 4-string players who think it's about the low notes.

Just put some green LEDs behind the grille. Or go wild and multicoloured, like I did with a Berg AE112. Vid 20151231 195656-1.mp4

I had both a Superfly and a Superduperfly (the 1000W version). Both suffered slightly from high pitched twittering - not noticeable gigging but nevertheless annoying. The front end on them was brilliant and I did suggest to them that they revive the preamp as a stand-alone unit (they were polite but nothing has happened so I think that got filed in the round basket). I'd love to get hold of one with failed power amps for notalot and extract the preamp from it.

I don't know, I'm afraid it's just a vague memory.

I've encountered this on one or two Behringer effects - IIRC there's a protection diode on the DC socket to prevent reverse voltage being applied to it and that can fail.

I suspect that pushing the T-nut out slightly would almost certainly make it skew, meaning it would be more likely to cross-thread. Must remember to be gentle.

What about having it powder coated?

I was just about to mention my NS WAV-4 - dots everywhere, I find it very confusing.

Looking around the room, I can see 14 basses in natural finish (well, a couple are lacquered over natural finish), a black Ashbory and a sunburst Kala U-bass. So I think that's a vote for natural.

Briefly furious, then.

You could try asking a few amateur porn producers how they manage, as they face a similar challenge.

My Fender Precision fretless was like that. Pain in the bum. I learnt on unlined fretlessesses but my current main bass is lined. I'd rather it was unlined, especially as the lines are very very slightly raised. Only a hair's breadth, but perceptible.

Incidentally, Trace Elliot watts may be louder but they sound nastier too.

"Something which may have been overlooked is that the more speaker surface area, the louder also. A 410 vs 115 using the same amp and ohms, the 410 will be far louder." A bit ambiguous as to whether it's the just surface area or the surface area and dozens of other variables, but it does rather imply to me that the surface area is the principal reason for the difference.

And "coming home". I've had two Fender Ps, one fretted, one fretless. I now own zero Fender (or any other) Ps, and have every intention of keeping it that way.

Presumably for the grill. I wondered about it too.

Sorry about the lateness of this but I'm finally getting round to reading this thread as it's time I started trying to get some sort of sound out of my Megatar. One of these might be useful for lifting strings on/off the bridge: https://www.ebay.co.uk/itm/T-Handle-Style-Exhaust-Stand-Spring-Hook-Puller-Tool-Motorcycle-Kart-Bike-RMN0/202757549712 They work well for stand and exhaust springs on bikes.

I have a chorus permanently on (part of my permanent chain in a Zoom MS-60B).

I think it's also a bit better - uses the next iteration of the DSP. Also allows longer effects chains, so you can have a HPF and compressor at one end and an amp sim at the other, and three switchable effects in the middle. Also easier to switch between patches. It does lose the DI and the battery power, and you need to use a third party patch editor (ToneLib). I've also got an HD500 which I got ridiculously cheaply but I have yet to experiment properly with that. Powerful but enormous.

I think it's one of those things that's easier to remember in English as all the words start with "R".

It may help if you consider MIDI keyboards as a combination of a MIDI controller keyboard and a MIDI sound module in one case. The MIDI out you have going off to the computer is simply a stream of instructions saying what note to play and how loud. It's also heading off to the sound module bit of your keyboard to tell it to play those notes. You can also send a stream of MIDI messages from something else - a sequencer, another keyboard, a guitar/bass-to-MIDI converter - to the MIDI in, and the sound module will play those notes.

There's always the Zoom B3n.

Two things for me. The Tascam GB-10 - small but not cheap at £150 or so from Thomann. And the Kinsman KGS stool, less expensive but larger at £30-£35 (a bit less for the Harley Benton version from Thomann) which enables me to do 45 minute sets without collapsing in agony. I will also mention Eneloops, as I use them in a few things and I like to feel I'm doing something to save the planet as I drive to the next gig and plug in my 900W amp...