tauzero

I still have to get them into and out of the car, so I stick to 8" Altos.

My lot let me do the XLR cables as I'm the only one I trust to do them right. However, they are not averse to a bit of manual labour - speakers on and off stands, stands out of and into bags, speaker covers off and on, and then carrying the stuff too.

It was in some primitive form of measurement 6'x4' (should have paid in groats) and as we play pubs, it's just about right. The somewhat strange appearance in the photo is because we set it up in front of the telly that was showing football and it's not blackout-strength material. It does demonstrate that it is sufficiently large to cover a big telly though. The stand is made of black solvent weld overflow pipe (21.5mm) - all the couplings are glued to one of the pipes they're attached to and the top and bottom crosspieces are in two pieces. I also put diagonal braces on the feet so it didn't lean backwards or forwards, and the legs below the crosspieces can have 25cm extension pieces put in where we have the headroom (like here). It's a bit low when we don't have the headroom (or when I mislaid one of the extensions):

The B3 is pretty old tech. The successor was the B3n (improved sound and usability) and the current flagship model is the B6. They're good for the money (especially the MS pedals like the MS-70CDR) but multieffects are basically a collision between you get what you pay for and the law of diminishing returns, so splash out a bit extra on something from Line 6 like a HX Effects or Stomp and it's a step up.

My '87 has the thin neck. At some point (I think it was late rather than early '90s) they got fat, and certainly my 2000 NT was a fat neck until I had it reprofiled to the same as my '87. Then they slimmed down again but I'm not sure if they went as slim as the early ones, haven't played a recent one. If you're after a 5 rather than a 4, you'll find that the neck in the slim neck era is a little chunkier than you'd expect if you were extrapolating from the 4-string. However, the profile in the fat neck era wasn't consistent either, some felt more comfortable than others. Some info at https://forum.warwickforum.com/threads/neck-profiles.15019/ and I'm sure there's other similar threads on there.

Which is also a reminder that you need a pot with PCB mounting terminals in the same orientation: and not one with solder terminals or right-angle terminals

But without the same stage presence and bodybuilding potential 😁

I can fully relate to the glasses issue. For our leads, the singer/guitarist has his own which is red, I use a purple one for me, and the other guitarist uses one that I supply to him which is black. In your case, could you use coloured insulting tape round the lead ends and on the mixer?

You mean one with two fretted strings and two fretless strings?

Ah, pick'n'nicks.

I can't see why wireless would be any worse for XLR than for guitars or bass. Wireless XLR means you can plug a dongle into a mic and another into the receiver and eliminate the wire, and the reason for it being XLR is that that's what mics use. Lekato do the MW-1 https://lekatodeal.com/en-uk/products/wireless-5-8ghz-microphone-system-plug-on-xlr-transmitter-receiver?_pos=1&_sid=08dc515d5&_ss=r - available for about £70 from AliExpress.

That's a good price and they are good basses. Something to note is that with the bottom strap button in its original position, apparently it balances a bit awkwardly, so a few people have moved the button to a central position (this had been done to my EHB1265MS, the fancy wood version of the EHB1005).

I did. Why don't you read the thread title again? Don't know why I bothered reading your post, I was merely trying to enlighten you but it's like playing chess with a pigeon.

The Zoom B3 is the effects pedal referred to in the OP and used in the video, which may provide a clue as to why the reference to three effects which is the maximum on the B3.

Don't forget the amount of human time put into making the videos to try and convince you that the wood makes a difference.

Well, I was hoping it would be about Liz Bonnin or Helena Bonham-Carter, so it was a little disappointing.

Something else to bear in mind is that note timbre will change according to which string you use to play a note. The A on the 10th fret of the B string will sound different to the 5th fret of the E string and to the open A, partly because of the character of the string and partly because of where you're plucking it relative to the speaking length of the string - if you pluck in the same place then the higher you're fretting, the closer you'll be to the centre of the speaking length, hence the less harmonic content you'll get. If you're playing short notes it won't be particularly noticeable but it's worth keeping in mind and experimenting with on sustained notes.

Licensed Hipshot Ultralites? 1/2" and 3/8" available - https://hipshotproducts.com/collections/bass-tuning Used on Cort GB4 and GB5, nice tuners.

I do. And I take them off at the end of the rehearsal/gig and put them back on again at the start of the next one. And occasionally swap them round for fun. However, on the washer front, ISTR somebody suggesting tap washers many many years ago.

The MIDI implementation chart is the same for both old and new. From which I would deduce that the MIDI message that turned the tuner on and off was undocumented on either, and probably works the same on both. You don't want to use the tuner on the Helix then?

A Kay. I wouldn't stake anything more valuable than a Polo mint on it, but I think they were also Teisco, and possibly sold as Top Twenty by Woolies.

Read the definitive work on the physics of the electric guitar (which also covers bass): https://www.researchgate.net/publication/344300656_Translated_Physics_of_the_Electric_Guitar

Exactly. Not Carrick, I know Carrick - https://www.facebook.com/carrickmusic/

Garrick?

I didn't hear anything like that from that video. I have heard ludicrously loud bass drum, generally from cars - when I worked at Tarmac, right by Birmingham airport, there was a car that would pull up to the car park exit barriers with booming bass easily audible in the office through triple glazing which totally silenced the aeroplanes.