tauzero

Saturday we were at Wilnecote WMC, which is now the home (literally) of Sub Zero. I don't know why, but I seemed constantly mentally off balance when setting up the PA and my rig. Finally got it all together. Took the Poseidon out again today, having restrung it with Elites 40-125. Also started using the Zoom MS-70CDR+ instead of the MS-60B+, as I've mentioned in the open mics thread, as there's more choruses and a better pitch shifter on the 70 than the 60 which means I can pitch shift Sweet Child O' Mine instead of playing it a fret down (I play it with the other band and on open mic nights in D, so playing it in C♯ is going to cause confusion at some point). I think we played pretty well although there were a couple of minor fluffs, and the side dots on the Esh are very small and on a stage without much light from above it's easy to miss your positioning which meant my quota of bum notes was a little higher than normal. Audience was fairly sparse (January and February tends to be) and we didn't get any dancers. Our singer has got a pitch shifter for his guitar which means that the change into Sweet Child O' Mine, our last song, is a lot smoother as he used to have to change guitar for a downtuned one just for that song (the guitarist has a Variax so can pitch shift on the guitar). Gear - Esh Poseidon V -> M-Vave wireless -> Zoom MS-70CDR+ -> Tecamp Puma 900 -> GR Bass AT212. Footwear remains Caravelle memory foam trainers.

I've had to adjust my truss rod at gigs more than once, although only once halfway through when I realised that there was a slight backbow - however, it's easy with Sei headlesses.

Alters the behaviour of a component in the signal chain, but as that component is general purpose then probably T2.

TBH, I think it would have been the seller who was responsible for counting the number of strings and the "AI" just came up with the text afterwards.

It comes in handy for Hotel California too.

You're joking, aren't you? Zoom are absolutely dreadful for support once they've done the initial release and potentially a bugfix release - the MS-plus range haven't got a Windows or Android editor, and they haven't updated the effects, even though (for example) there are a load more choruses on the MS-70CDR+ than on the MS-60B+ which could obviously be ported straight across. In fact, I really don't know why I bought the MS-60B+, I've reverted to using the MS-70CDR+ as it does compression, EQ, chorus, pitch shift, and only lacks in amp models which I have finally realised I really don't care about anyway. Just looked back at the MS-60B update history, and that was four years between initial release (1.00) and the next release (2.00) which included 84 new effects. There was a bugfix two and a half years later.

https://www.ebay.co.uk/itm/317051865718 5-string Shine bass (the title says). That'll be according to AI then.

I'm doing a repair which is also a downgrade, can I have that as a credit? The Eminence Deltalite in my homebuilt cab packed up last night (it only gets used for open mics). A replacement would be £140 or so (and I now have no confidence whatsoever in Eminence Made in USA rubbish), so I'm getting a BishopSound BSP10 for £40.

But at least that is a feasible repair. With a barrel jack, you'd either have to send in a trained ant with a little bit of wire wool or just replace it, preferably with a more expensive one which will almost last proportionately longer.

OK, they're either there to cover routing or to try to make it look like your bass was made on the cheap by pretending they're covering routing. They're still an affront to, well, everything.

They did an unlined fretless P a long time ago - I had one (ash or maple body, rosewood fingerboard) in the early 80s which would probably have been a 70s build. Bloody heavy too.

Have you tried just using the two 500mA outlets with a single current doubler?

Even better, cut the whole messy lot off and make sure there's no balance problems by making it headless.

Only if you need to go to Specsavers. The Warwick headstock is waisted, that's just a rather dull headstock with a squiggle on the end.

Just got back in from this week's episode of the Crown at Shard End. I was using (as I have been for a few weeks) my Tecamp Puma 900 with the home built cab powered by an Eminence Deltalite II, except that after 20 minutes to half an hour it ceased to be powered. I was also being sent through the PA, so my fabulous bass playing was still audible. I wasn't sure what had gone wrong, whether it was the power stage in the amp or the speaker, but when I got it home it became evident that the speaker was the culprit. I know I'm using a 900W amp with a 250W speaker, but it was barely ticking over. So much for "Made in USA" as a mark of quality, I'll stick to Chinese from now on. Anyroadup, a couple of people dropped out so there were slightly more songs per person than normally, and I finished up accompanying three of the acts. Some really impressive singing by the four women who sang (I shall draw a veil, mercifully, across the young girls who are always there and absolutely exemplify that clause often seen in adverts, "enthusiasm more important than ability", though a couple of them do show a little promise). Mrs Zero was unwell so I decided not to inflict my voice on the assembled masses.

There's no point to the wretched things. They're only there to cover over the front routing, and if the control cavity was rear routed instead, they could be done away with. They're just there to show that your expensive bass has been made as cheaply as possible. Harley Benton can manage rear routing of a bolt-on bass for £155, you'd think other makers could do as well for basses costing ten times as much.

Mine are very unsympathetic, they never correct my note choice.

Which definitely works (he says that it doesn't in the comments, let's see what he says to my reply on that).

I think it means that jazz music is nonsense for people who don't like nonsense.

That's a repair, and reasonably close to like for like. I'd give it a pass.

No natural wood option. I'm out.

I don't use it to properly play play on except for "I predict a riot", but I do use it a fair bit for passing notes on fills.

Remarkably, quite a few people made their way through the frozen snow to the Cannock Social Club to see us on Saturday (including us). And an hour or so before we went on, Jayler's guitarist[1] rang up our BL and asked if he could come along and play with us. He said yes, so we had a fairly full stage. All went well - James is an excellent guitarist and proved adept at picking up songs he'd never played before. Admittedly this is mainly 12-bar R&B but there are a few more awkward songs and he picked those up OK. We also had our regular interval singer Amelie along. Sei Jazz 5 -> M-Vave wireless -> Zoom MS-60B+ -> Tecamp Puma 900 -> GR Bass AT212. Velcro fastening trainers replacing the usual Caravelles. [1] Young rock band, will be supporting Guns N Roses and Deep Purple this year

Two of the three new songs that we rehearsed today are in the list. 35 songs, of which 10 were in the list, set to rise to 38/12.

One featuring the fretless work of either John Giblin or Pino Palladino. I'll go with Fish's Vigil in a wilderness of mirrors with John Giblin, although I'd also be tempted by a Paul Young album.