BigRedX

Yes, in theory everything should work. However without seeing exactly how the footswitch works it isn't possible to say for sure.

Do you have a multi-meter or continuity tester?

Just goes to show that bass guitarists are not as indispensable as we would like to think. The only essential bass guitarists are those who also sing and/or are the major song writers for the band.

Unfortunately your photograph only shows the sockets and not the wiring between them. Can you post a photo showing that? When you are using this patchbay you are plugging the footswitch into one of the sockets inside you pedal case(?) and then connecting the corresponding socket on the outside to the case to the foontstwich socket on the back of the amp? Do all four pairs of sockets give the same result? Does it make any difference if you use a different lead between the case and the footswitch socket on the amp?

In the overall scheme of things the effect of the top wood (which will be <5mm in thickness) makes a negligible contribution to the sound of the instrument. If you are asking from a strength PoV the wood can be impregnated with a resin if it needs to be stronger to hold the various fixtures and fitting in place, although they should all really be fitted with screws long enough to screw into the main body wood.

CMYK stands for Cyan, Magenta, Yellow, Black (Key) and these are the colours that will be used to print your on-body. Most budget and free graphics programs use to RGB (Red Green Blue) which are colours used to drive the display of your computing device. While RGB will convert automatically to CMYK at the printing stage, the range of colours available in RGB is far greater than that in CMYK so if you have used very bright and vivid colours for your design you may be somewhat disappointed when the CDs come back with much more muted colours than you were expecting. This is why it is always best that you do the conversion yourself (or work in CMYK from the start) as you will be able to make your own adjustments to the design to get as close as possible to the effect you want to achieve. However, as it appears from your post that the "design" is just a layout for the printers to use to create the actual artwork for print then you should be OK.

What is your amp? What are you using to switch channels? Can you provide a photograph of the sockets in your patchbay? Does the channel switching work if you bypass the patchbay?

Yes. It's a rather worn Rickenbacker 4005 body and neck. Very obviously a Ric from the shape.

Interesting list, although it's missing some important names such as U2 and Siouxsie and the Banshees from 1980 and the Orange Juice gig was 1981.

Not that I am aware of. This thread should probably have been removed.

It's called the "On-body print". Who are the CD manufacturers? They should have had all the templates you needed available for download from their site. Unfortunately although many of the templates for covers/labels/on-body are the same from one manufacturer to the next, some like to do things their own way, so they are not always interchangeable and you really need to use the templates provided by your chosen manufacturer. And good to hear that you finally got what you needed. I trust you converted your image to CMYK before sending it off?

Unfortunately, if you really want to promote your work, whether it's a single/album/video release or a podcast/blog/vlog, you are going to get far more views if you post it here rather than in one of the specialised forums that are only visited by a few people.

So why are you giving him publicity by publishing links to his sale items?

Do you mean the artwork for the sleeve or the on-body?

It's all down to personal experience, but I have been using Schaller Straplocks for 35 years now and never had one fail on me. The only set of Dunlops I've ever had broke after less than 6 months use.

And another disagreement here. I actually had to quit the covers band I was in because my originals band was picking up more and more gigs until it got to the point that we were out playing at least one night every weekend, plus after deducting expenses was coming away with more money per gig.

Our German "friend" at Music Outlet Shop. There ought to be a Basschat rule about not posting his stuff and giving him the publicity.

OK my comment was a bit harsh, but I one quarter of the way in to the video and you still haven't begun to touch on the subject matter in the title. This is why I don't like vlogs, it gives the creator too much opportunity to pad it out with content that is irrelevant to the subject it is supposed to be covering.

I think for a bass to be a "treasure of the future" it needs to meet certain criteria: 1. It needs to offer something obviously different to a Fender P or J. 2. There needs to be a significant amount of continuity between examples of the same model, so if you've tried one bass of a particular model from a particular luthier, the next one you try of the same model will be almost the same. 3. It need needs to have several high-profile users who have a unique style, and pretty much only play that particular bass. 4. There needs to be a finite or limited supply, because the luthier has retired or died, or because only a small number are produced each year, with a long waiting list.

Would the average person know that a "modern" instrument like an electric guitar might actually be quite valuable?

Are you sure this video is about playing covers? 4 minutes in and all I've seen is driving to the gig and some randoms backstage. I'm sorry but life is too short for me to waste my time on this. I could be writing another song.

On all the guitars and basses I've owned that didn't come with Schaller Straplocks already fitted, I've always used the screw that was holding the original stop button with the Straplock rather than the one supplied. Since the design of the button part of the Straplock means that the screw goes further into the wood the button ends up being better attached than before.

Maybe... Unfortunately Gus will need at least one high profile player who is going to live longer than a single performance with the instrument to get their name properly known.

What you need to do is to have one device as the master clock and the others sync'd off that. Is there one device that will do master clock functions best? Also you'll need to look at the MIDI implementation charts for each device to see what MIDI messages each will send and receive. To get around the lack of MIDI thrus and outs on your devices you will need a MIDI thru box, but make sure that it is one that supports MIDI clock data on all of its outputs as many will filter out clock messages so they don't overload the MIDI dat stream.

I would appear that these days he's using Thunderbird-shaped basses made by Mike Lull.