bertbass

As I seem to be the only one who is willing to do anything I end up having a major say in most things.

Hi Rob, I have found an honest politician for you! Let me tell you a story. A few years ago I built a few wedgehorn 6s and like you I needed Goldwood 1016's for the build and like you I found that the UK price was unbelievable considering that the price in the US was only about a $1 each. Fortunately my lady and I were holidaying in Vegas for a few days so to cut the story short, I ordered a load of Goldwood 1016's and had them delivered to our hotel and brought them back with me in my suitcase. Finished the wedgehorns and they were and still are, great. I bought more piezos than I needed just in case and the unused ones are just sitting on a shelf waiting for a use. It would seem that you have a use for them. If you'd care to message me with your address, I'll get them in the post to you FOC. Terry

Ask Bill fitzmaurice. The cab is his design. All the information you need can be found here, https://billfitzmaurice.info/ and you can buy the plans for your cab on the site as well then you'll have all the info you need. I can tell you that there is no crossover in the cab and that the resistor is there to prevent ultrasonic oscillations. The piezos have to be the right ones and that the cab is designed to use only those tweeters anything else won't sound right or have the right dispersion.

No one's mentioned Newtone strings, the best strings I've ever used, and as I've been playing for 60 years, I've used a lot!

When I started playing, early 60s, there were no such thing as wire wound / round wound strings, only tape wound strings, now called flats and I hated them. No brightness at all but then bass was not supposed to sound bright, only bassy. Then wire wound strings appeared and suddenly there was tone and I used them straight away but still wasn't totally happy, the bottom E always seemed to have too many overtones and was always floppy in that the note would be slightly sharp and then settle down to the right note. This was with the most heavy string available, 45-105. I suspected that the second problem was me 'digging in' but if you're getting into it and performing it's impossible not to play hard, for me anyway and still is. A few years ago I discovered heavier gauge strings, 50-110 and gave them a try and suddenly I had a proper note and no floppiness on the E string and here I've stayed. Newtone strings are now my string of choice, 50-110, and I'm a happy chappie and it's far to late to try to change my style and how can you possibly do a windmill lightly. I still hate tape wound strings / flats with a vengeance and just can't understand why anyone would choose them but that's just me. Sorry for the ramble but that's my string story.

How good is that!!!

As it's my only bass, that would be a yes.

Sorry, but if you're in one band then that's it, you don't play in other bands. Help out in an emergency as long as no one else minds. Not enough gigs to keep you happy, get more gigs. Wrong type of music, leave and join another band. I think you get where I'm coming from.

Wouldn't hurt to just re-solder the connections first, then you'd know whether it's a bad socket or not.

This is all a bit frightening. Have none of these people seen Terminator.

Temu scratch plate material. Might be worth a look.

I had a machine head rattling on me once, it was actually the ear loose in the slot. Took ages to find it, a quick squeeze with a pair of pliers fixed it.

I only know that ESE was a music shop in Maidstone who produced their own range of music gear. Mainly PA but a few other amps and cabs as well. I never tried any ESE equipment so can't comment on sound or quality. Sorry.

Not many left handed basses, infact, none.

Also done!