tauzero

I've had three Peaveys: a Grind BXP 6, a Grind BXP 5, and a Zephyr C5. Both Grinds were 35" scale, the Zephyr was 34". String spacing on the Zephyr was 16mm, on the Grind 5 16.5mm, and on the Grind 6 a rather tighter 15.5mm. Sticker added for cosmetic purposes: The Zephyr had a slightly fatter neck than the Grinds - that went first, the other two later.

Dirty Roses: Summer of 69. Not an intentional structure change, it's just that despite us having done it for several years, the drummer still can't sort out a fill for the end of the middle 8. TBH, we really ought to drop it. Tainted Love. Just an ending that works for us. Twist and Shout/La Bamba. We just do it as a medley at the end of the night, it's generally fairly random where we switch from one to the other and where the lead breaks come. Paranoid. No structure change, it's just that I think I only play about 90% of the notes because my fingers don't work fast enough. I'd love to drop it. I think that's it. Bonnevilles: Born on the Bayou. Not sure if we've done a structure change or not, haven't listened to the original since we rehearsed it earlier and worked out what we would do. Off the top of my head, that's it. It's not just cover bands who change structures, if you have a listen to the original "Don't you forget about me" off Glittering Prize and compare it to the live version on Live in the City of Light, there's quite a major restructure. And then try and find a Youtube video where Simple Minds play it the same as they do on that live album, rather than yet another way. And I really don't know why it happens. I know the guitarist in the Bonnevilles has commented on how I play Sweet Child O' Mine because I play it as per record with the correct hold of two bars on the A at the end of the Em C B A bit, as does everyone else I've played it with, but another band that he plays with does it some different length (stuff that, I'm playing it the right length!). So once a mistake has established itself, it's often difficult to extract it.

Bonnevilles rehearsal, went over two new songs - Confidence Man (Jeff Healey Band) and Born on the Bayou (Creedence). Unfortunately the drummer was a bit behind as he'd been listening to Born on the Bayou and some other Creedence track because he hadn't spotted who Confidence Man was by and had found a CCR track that had a name vaguely similar to Confidence Man. Still, we managed to go through both songs a few times and work out how we were going to play them (I might have a listen back to the originals to see how close we are). Plus I've suggested another couple of old ones, Shaking all over and Summertime blues, although I would like to do them like The Who did them rather than the more pedestrian originals.

Only if the would-be purchaser doesn't then buy a different instrument, and the factory only makes that component for a USA manufacturer and can't change to making another (or the same) component for another manufacturer.

They don't want to make him soggy, he'll take an age to burn.

The difficult second album did for them.

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).