geoffbyrne

[quote name='Dad3353' timestamp='1371343811' post='2112853'] At an air show, late '60s, a Vulcan flew past on one engine; a Concorde Olympus engine strapped in the middle. A flying test-bed, but with one to replace the four normally used. Concorde has 4 of these, producing 152000 lbs of thrust on take-off. Fuel consumption..? Just over 25000 litres/hour. Noisy..? Yes, somewhat. [/quote] G.

For loud, the two things I remember are (as above) standing at the end of Glasgow runway as Concorde took off over me on full afterburners. The air in my lungs was reverberating & throbbing - an incredible sensation - really physical. Not long after was at an air show at Leuchers & saw (& heard) an American B1 bomber take off & got into a tight spiral climb directly over the runway - not physical like Concorde, but LOUD!!!! G.

Wot? No 5 sting sets of Cleartones? G.

Paul Samwell-Smith, Yardbirds, 1964, Ayr: "I've never needed an amp more powerful than 15 Watts." Honest. G.

I've just seen this Jezza. Do you still have it? I'm living in Wishaw now, so could pick it up next time I'm over Paisley-side. G.

I think the OP's point - as was mine from bitter experience - was that a lot of players who use capos don't understand enough about music theory to know what they are playing once they've done it. I'm pretty sure capos aren't inherently evil.......maybe. G.

the 9/18V switch wouldn't make a great deal of difference IMHO. G.

[quote name='molan' timestamp='1370970120' post='2108121'] They both look 'home-made' to me [/quote] How do they sound? G.

I played guitar in bands from 1959 to 1979. Never needed a capo - learned to play barre chords as suggested above - played in every key possible without capo. Not so long ago played with a lot(!) who capo'd everything - and since there were 2 of 'em, each capo'd in a different way (No point in us both playing the same chords....)! One might capo on 2nd fret so he could play in D using C-type chord shapes, while the other would capo 5th fret to use A-type, or 10th to use E-type shapes (FFS!). Add to this the confusion caused because they conformed to the PITCH of the recorded song WITHOUT taking into account the original band was tuned DOWN a semitone and you begin to see where error may creep in. And creep in it did - more than once a key was called on stage & despite rehearsal (and they changed things when I wasn't there) we all started off on different keys - usually to my detriment. This showed me that even they weren't sure of what key they were actually in! Then the bum girlfriend singer was intoduced & I was off like a shot!! G.

More updates - worth looking at - right down at the bottom. http://la-economy.blogspot.co.uk/2013/05/current-production-12ax7-tubes-ten-of.html G.

I've been using FreeStudio for a long time - it's .....free!! Yuotube changes its parameters frequently & the FreeStudio team updates just as frequently. It also does many, many things over & above downloading MP3s. http://www.dvdvideosoft.com/free-dvd-video-software.htm G.

Link? G.

+1 G

I think I might have an old p-bass-type pickguard that has the neck socket square-cut if you'd like to try it. G.

Octaver? G.

I've just bought the best of Chris Rea from Tesco for £5 and I have to say the bass tone on the 1st CD is incredible. No credits on the blurb. G.

[quote name='Lowender' timestamp='1370656941' post='2104139'] Actually, it was a pure marketing scheme -- supposedly a rebellion against the ever increasing pomposity of rock music and bringing it back to the "street musicians." Any idiot with a guitar and an attitude could play it. And the critics decided who was "important." Having said that, The Sex Pistols had a couple of good songs. [/quote] This. Real punk (i.e. New York Punk as mentioned above) was hijacked by Malcolm McLaren & Vivienne Westwood who used it (& the rebellion associated with it) to sell a bundle of cheap trashy clothes - particularly tartan stuff, which didn't really ring true up here - but made them very rich & the poor herd of sods who were buying the stuff thought they were registering their own uniqueness. G.

Me too! I've wanted a small board for ages & this seems like a decent deal. G.

Being 66 & also having back problems, I welcome practicing sitting down, but I stand for a performance. G.

I have a small hand and previously played narrow spacing basses - a Hohner B Bass & a Peavey Cirrus BXP, both very good in their own way, with the Cirrus possibly being the best neck I've ever played - but I picked up a Yamaha BBG5A inexpesively which has almost 'full' spacing & quite a wide neck. At first I found it difficult but now I love it & it has become my Number 1 player. Only thing I can suggest is to get what sounds good & persevere with the feel. G.

I'm sure you can get adapter bushes for this, but I don't know where - just looked at Axes'R'Us & they don't seem to have them. G.

This speaker is usually found in the boot of a car. http://www.ebay.co.uk/itm/Tornado-Deep-Bass-Subwoofer-STW-155-Speaker-and-Case-/200648738916?ViewItem=&item=200648738916&nma=true&si=LoC1%252B8k1VyDmgb5GHNRP1margTw%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 Personally, I'd replace it with something known to work with a real bass & a real amp measured in RMS. Maybe an Eminence 3012? G.

I don't get any sound - vid's working. G.

EQ is on an amp to be used. Use it to make the sound you want to hear to represent your playing. I've never understood the 'look at me, my EQ is flat' tosh you get so much on the US sites. G.

You should try flats - new roundwounds are all zingy to begin with - some longer than others. If your fingers are going black thenn those are nickel-coated strings - they do that to my fingers too. I've just put GHS Brite Flats on one of my basses - they are actually roundwounds ground down to feel flat(ter) although they don't feel like roundwounds - or flats. Not as bright as roundwounds, not as dull as flats. The Fender flats are pretty good these days - I believe D'Addario makes them now, but I may be wrong. G.