tauzero

[quote name='Muzz' timestamp='1437488414' post='2826445'] How packed is your dance floor to the 'not in 3:4 or 4:4' stuff? I think I'd pay money to see that... [/quote] The sight of a bunch of women attempting to linedance to the 7/4 section of "Music" by John Miles is thoroughly entertaining.

I have suggested that we ration our generic covers to a maximum of 50% of the set - hopefully it will drop more. And I actually enjoy playing some of the songs which seem universally hated (Mustang Sally, Wishing Well, Sweet Home Alabama frinstance), and as I no longer have to play Red Red f***ing Whine I'm happy.

We do the theme to Friends - I'll be there for you, Rembrandts. Other band used to do Feeler - Feeling a moment, and Razorlight - America.

[quote name='lefrash' timestamp='1437393500' post='2825538'] Now I think about it the ampeg PF350 was returned and replaced under warranty due to the intermittent cutting out (which is a well known fault of this model) so perhaps I should discount that one. But yeah, 3 amps for the same thing to happen is still alot. Ashdown and the LH500 were fixed pretty cheaply and the markbass is on its way back to (hopefully) be fixed under warranty, [/quote] Were the Ashdown and LH500 repaired by the same tech? Did you get some detail on what the faults were to see if there was anything in common? Discounting the power supply, as they're switching on, it could still be input jack, preamp, send/return loop (eg. return jack), power amp, or the subsection of the power supply that feeds the preamp, so there's plenty of stages. If it was always the power amp, that might indicate some common factor, otherwise it's just coincidence and being in the wrong place on the bathtub curve.

[quote name='alexclaber' timestamp='1437383934' post='2825390'] We definitely have to knock a load of these ideas up in photoshop - I can't help but think of your suggestion as being like a Big Twin 2 but with a megaphone bolted to each side and a big toggle switch labelled "drummer toasting direction" on top! [/quote] What about something like this but with a swivelling top part that can be aimed at a drummer? Something like this:

Status do DBE strings in round, flat, half-round, and nylon-coated. Plus there's someone who sells adaptors, lengths of brass bar with holes with grub screws in which hold the strings at the headpiece end. Just search on That Ebay for "Steinberger String Adapter".

[quote name='Dad3353' timestamp='1437383523' post='2825386'] That's not quite what I was referring to in the (admittedly weak...) analogy. The basic point is that, if and while work is being done, then the work should be paid, no quibbles. Once it's done, though, it's done, and shouldn't generate revenue simply for the fact of being 'wanted'. I was comparing the listening to a song to someone coming to look at (not own, nor take away; just to look at...) a painting I'd acquired. The original artist is not paid 'per look', and doesn't get to know whether his work generates a lot of lookers or not. His work is finished, and has been paid for. An actor in a film has been paid for his role, whether the film is a success or a flop. On the other hand, every time anyone strikes up 'Happy Birthday', the owners of the rights to that song are due some money. I don't see why, as no further work has been done once it's been composed. Paying for it once, on a [i]pro rata[/i] for the time taken to compose it, seems fair enough to me. Having a milk cow just because it's popular is what I take to be wrong. It's not a question of ownership; simply having one's time paid for, but only once. I am all for musicians (indeed, all folks working...) being paid for their diligence and talent, but not to the point of becoming mega rich once the work is finished. How to achieve this could be debated, but the basic principle of having cash roll in whilst doing nothing more rankles with me. [/quote] But then you take away the link between supply and demand which establishes value in other areas of commerce. Your model means that everything of the same type would either have to have the same price or would have to have a price established at the point of sale with no movement allowed.

[quote name='Dad3353' timestamp='1436385310' post='2817808'] I know it's controversial here, but that's my point of view ... [/quote] Dad, you say that we wouldn't pay multiple times for a painting, but that's not comparing like with like. If you use that analogy, what you're buying is a photocopy of the painting, and artists can sell as many photocopies of paintings as they like. It's the difference between depriving someone else of ownership in order to have it yourself and, er, not depriving someone else of ownership in order to own it yourself.

The bit at the end of page 2 (basically saying that class D amps are uterly wet and a weed) is very confusingly written.

[quote name='bluejay' timestamp='1436516011' post='2818694'] Warwick are being a bit slow offering a design improvement here, arent' they. [/quote] I wanted to find out about this very thing about a month ago, and went exploring on the Warwick forum. Apparently Warwick did update the tailpiece, increasing the slot width by .5mm, and you can buy the new version at the Warwick shop for about 20EU + P&P (or 35EU if it's gold - bah). I'm in two minds as to whether to get a new one or file the old one (rather faded gold finish). See [url="http://forum.warwick.de/showthread.php/13077-130-B-string-in-a-Warwick-bridge"]http://forum.warwick.de/showthread.php/13077-130-B-string-in-a-Warwick-bridge [/url]and [url="http://shop.warwick.de/?&c=35352310036&lang=en&smk=1&modul=shop&site=shop_overview_2&filter=new&nm=D0405358001321517424A43801|Warwick|D0975238001321517429A45943"]http://shop.warwick.de/?&c=35352310036&lang=en&smk=1&modul=shop&site=shop_overview_2&filter=new&nm=D0405358001321517424A43801|Warwick|D0975238001321517429A45943[/url]

[quote name='Ghost_Bass' timestamp='1437061686' post='2823304'] How's the height from each string to the fretboard, near the headstock? Could this have been made on purpose to even out the height of each string? [/quote] It's got a zero fret so that shouldn't affect it. I'd be inclined to remove the endpiece and see if the screw holes were in the right places (which would also make it easier to see if there's a twist). Might be the screws being put in on the wonk.

[quote name='AndyTravis' timestamp='1437148325' post='2824052'] Had a kingbass, and after 12 months I decided the headless thing wasn't really for me...but I still fancy a jack [/quote] What Sir wants is a Hohner B Bass, which is a Jack with a head on. Personally, I think headless is great.

I had a Jack 5. Sold it because the neck was too chunky for my liking. I now have a B2AV with similarly chunky neck but that's a backup bass, the small size and ability to be quite sanguine about standing it up in a corner being very useful.

[quote name='LukeFRC' timestamp='1437082650' post='2823539'] Quick q does the sound of the "pronounced mids" change slightly if you turn the cab onto it's side? [/quote] If you turn it upside down, are they pronounced "spiw"? Dood, have you got any 1x12s to A/B this one with?

[quote name='Ghost_Bass' timestamp='1435594054' post='2810385'] Also, since i have a minotaur strap wich is thicker the nut that secures the strap to the locking mechanism tens to come loose after a while, i need to find a way to make it more stable, maybe using a nut with some sort of grip system. [/quote] The Boston straplocks which are Schaller clones have two nuts - tighten the first one onto the strap, then tighten the second onto the first which locks it.

[quote name='lowregisterhead' timestamp='1436982933' post='2822580'] No accusation of theft was made by me, I was only ruminating that the quality of the units might possibly be on a par with the "professional quality studio monitors" that I've been offered in service station car parks on more than one occasion by the aforementioned dodgy white van men who were trying to "liquidate excess stock". Allegedly. I must have looked shifty as well, I suppose. Just sayin'... [/quote] I was offered a brace of "high quality speakers" at a petrol station in That London some years ago. The seller was undaunted when I pointed out that I was riding a motorcycle. I suspect he was a congenital idiot.

Tony Tsai.

[quote name='alexclaber' timestamp='1436376670' post='2817695'] Actually it looks like the new cab will be 2.5-way! [/quote] You've developed a one-speaker isobaric system?

Gallien Krueger MB150 or 200MB (the 200MB was the forerunner to the MB150, as opposed to the MB-200 which isn't).

[quote name='ambient' timestamp='1436121167' post='2815166'] It wasn't you I find your posts genuinely funny, this guy only [b][i]thinks[/i][/b] he's funny. [/quote] Can't be me then, I'm a comedy genius.

I've never owned, used, or had any sort of contact with a Lightwave bass, so in that spirit of expert ignorance, ISTR that string changes required the pickups to be set up. Was that the case, and if so, does it still apply? Edit: having actually bothered to read the manual, I see you do but it doesn't look like a terribly complicated process and it's only when you change string type or gauge.

I don't see why the tracking would be any better than an instrument with a well set up Roland GK-3B or Graphtech bridge. It's outputting string vibrations to a 13-pin socket just as those do, so still needs vibration to MIDI conversion.

Yes, we keep some imperial units to keep the simple-minded happy (Americans, of course, use them all the time).

My rig is a Tecamp Puma 900 and brace of Bergantino AE112s. I've used it without problems for quite a few gigs, and one day I may play a venue big enough to need the master volume turned past 10 o'clock. Just thought that some advice based on actual experience might be helpful, though I realise that that doesn't conform to BC standards.