tauzero

You have that inverted. The first is hideous. The second is acceptable.

Of the bands I've been in which would qualify (ie I was a member at the point the band split up), I have no idea where my fellow band members were for almost all of them, for one band the drummer has moved to Australia, the singer I've lost touch with, and the guitarist I was in another band with subsequently. That other band had transformed so it no longer had that guitarist in when it finished, but Mrs Zero was the singer and she and I met up with the final guitarist yesterday, and I'm still in touch with two of the drummers we went through.

There is no such thing as a great scratchplate, only a marginally less offensive scratchplate.

I was the final recruit to the current band. The drummer gets most of the gigs - I have tried to get a few but so far unsuccessfully. I do the website, the singer and I do the little FB that we do (creating events and posting something afterwards).

https://www.ebay.co.uk/itm/176730901676 Neck, body, and the saddle section of the bridge. Missing guts, battery box, tailpiece, nut, and machine heads. However, the headstock has been attacked with a drill. The holes should be five big and five small, but all but one of the small holes have been enlarged, maybe to reverse the stringing order. I'm a bit tempted (I have one, it's quite good but the electronics leave something to be desired) but metalwork plus woodwork plus luthiery moves it rather outside my comfort (and ability) zone.

There are three basses shown on the Facebook link, and one of them is quite attractive. Not this one, though.

While I'm playing it. On the simple ones I enjoy being in the groove, on the complex ones I enjoy the challenge - either from getting the preplanned line right or coming up with some interesting variations.

TBH, I don't like pickguards (or scratchplates as we once called them in Britain before we got Yankised). Presumably they were used because of front routing, as that meant the body never had to be turned over as all the routing was on the front. I far prefer rear routed basses with no pickguards.

Mainly works but there's a conflict between the way the bit above the neck flows into the horn while the bit below that doesn't follow the line into the lower horn. Other than that, far superior to the Rick slap any old thing on approach.

Indeed, it's truly appalling how they've made it a constant distance from the edge of the bass all round the curve instead of going drunkenly right to the edge halfway round. What were they thinking?

That was my original thought, but it does look as if it was made with proper tools and not just a rusty knife and a bradawl.

"Peavey" is on the headstock next to "T-40".

One on Gumtree: https://www.gumtree.com/p/guitar-instrument/radical-bass-boucher-brothers-fretless-bass/1489130782 I believe it's https://www.facebook.com/photo/?fbid=1620928134797937&set=pb.100067650472148.-2207520000 - it's only four strings and it's got a thick neck so not one for me. I wonder if there's a truss rod.

I like the Variax one. My own Variax is sunburst with tort though. I've also got a Ray5 which is very like the second one. None of the other 30 or so have pickguards. Still, to add to the ugly pickguards: and especially

And "Peavy", and the "casing" is "orignal". I'm impressed that every single word of the title is wrong. That takes a special talent. Much like people on BC selling Squires.

I wouldn't refuse to buy something where an AI description had been used, but points 1-3 and 5 would apply, but I can't stand Fender Telecasters, I think they're hideous, so no points apply in this case.

One decent 1x12 cab plus an amp putting out about 500W into it (or a combo equivalent) is what I use for similar gigs.

Tonelib-Zoom is very useful - edit patches on the MS-60B with a (Windows, Mac, or Ubuntu Linux) computer. https://tonelib.net/tonelib-zoom.html Not available for the MS-60B+.

It would be rather cheaper just to use https://www.ebay.co.uk/itm/194117870254, plug one end into the Rick and the other two ends into the amps.

Some songs I'm happy chugging along on root notes - Sanctuary is one, With or without you is another. Other root note chuggers I'm not so keen on - Dakota and Don't look back in anger stand out among those. I generally prefer something a bit more complex, or that I can play around with without buggering up the song (I don't believe in this "less is more" thing).

The more highly trained of us can go off-topic within the first post of a thread.

I was trying to think where I'd heard the Schumann resonance mentioned recently - it was in The Listeners[1], and I remember thinking then (it was referred to as an acoustic phenomenon) that as it's an electromagnetic effect, you'd have to have very strange ears to hear it. [1] A recent television series, well worth avoiding

If I'd known, I might have considered coming out to see you. OTOH, Mrs Zero went out yesterday morning and reported back that it was dreadful weather, so maybe not, and I hadn't got to bed till about 3 with a long drive home and post-gig buzz. Ankerside has been gradually bleeding out for years since Ventura Park (the big just-out-of-town shopping centre) opened, hence all the closed shops.

Makes exactly the same point as I would about numerology - the number 432 relies on the duration of a second, and a second is an arbitrary quantity.

It helps to be aware of what you've done. If you keep making the same mistake, you need to work on it. Generally it's a one-off. I have one song I need to do more work on as I keep stumbling over a couple of notes, everything else seems OK.