Jean-Luc Pickguard

Anything by Coldplay

Sew What — Anti Nowhere League

And No More Shall We Fart — Nick Cave & The Bad Seeds

I think that G3 is the same one I saw on reverb this morning: https://reverb.com/uk/item/85356190-gibson-g3-reissue-2012-honeyburst

The gunk keeps the funk. But if you really need to defunk it, napha aka lighter fluid is the way to go. Last time I bought some it was a quid from poundland. It evaporates quickly so once you've wiped it off it won't leave any residue behind. Use it in a well ventilated area (or the garden), and ensure that any rags/kitchen towel is disposed of well away from anything that could set it alight. If you have sticker residue you want to remove from an instrument or case it's also perfect for that.

Eat Yourself Out — Melvins

Thank you — that is a great help. It looks like we have the same version of the circuit board and on initial inspection the wires on mine look like they're all present and connected the same as yours, albeit with some colour differences. One area of interest is the power socket. I was wondering about mine as I can't see it clearly, but I can see from yours that theres a pair of elements that appear to act as a switch to cut off the battery when a psu's mini-jack is plugged in. I wonder whether my issue could be as simple as the two bits on mine that make up the switching part of the socket either not making contact or in need a clean. I will take a closer look and have a poke about with the multimeter.

I recently found my EHX bassballs and Morley sync attack effects which I'd not seen for decades. I'm hoping my 70s coloursound tone bender will turn up as well, but I might have left it somewhere or gave it away back in the distant past. The Sync attack was an easy fix and is now fully working once I'd rigged up a working metal pick to trigger the effect, but the Bass Balls seems to be dead when tested with a 9v battery. It looks like I, or someone else was in there previously with a soldering iron as there appears to be a non-original pink wire. Does anyone know about these or own an similar 70s example of this pedal they can compare with mine to see if I have any wires missing or incorrectly connected?

Automatic Lava — The Vibrators

My JMJs have a lacquer finish that came with fake playwear and any I've added isn't really noticable. Most of my other basses have a poly or similar hard finish so only Edward Scissorhands, Freddie Kruger or that character Hugh Jackman plays would be able to add any playwear.

A drum screen is overkill for a pub gig and will look ridiculous if the setup is anything like the small pubs I've played in. The drummer needs to recognise that he is part of a band, and what the band sounds like as a whole is more important than his fragile ego.

The Woman Next Door — The Felice Brothers

This Charming Man — The Smiths

Brie-Bop-A-Lula — Gene Vincent

Lady Grinning Soul — David Bowie

Recently I was clearing out a cupboard full of boxes that hadn't been disturbed since moving into the house over twenty years ago, and I came across my old Morley Sync-Attack. The 'pik' cable was with it but the metal 'pik' itself was missing. I managed to get some metal picks from aliexpress and today I soldered one to the cable and covered it in adhesive vinyl. I plugged it in to test and it still works exactly as I remember from forty years ago. It is a bit of a weird effect — it detects the pik being grounded when it touches a string. This drops the signal to zero and fades it back in with the speed set by the control on top. I'm sure there are modern pedals that perform this kind of effect better without needing a kludgy pick attachment, so I think this is more of a pedal collector's piece than something that would actually be used on a gig. It was somewhat surprising to see the kind of prices these have gone for, so I'm probably going to list it on reverb and/or ebay for a bit less than the one below.

Dancing On My Own — Robyn

Dandy — The Kinks

Soup 'n Old Clothes — Frank Zappa

Naughty fake fender decal on the headstock. As if anyone would be daft enough to think fender would create such an abomination.

Shart — The Jam

The Hardest Fart — Blondie

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Best and worst was probably my Sienna Sunburst Player Mustang bass. It was my best purchase due to it having a very nice grain pattern on the body, where I've seen others that are nowhere near as attractive, and I was able to buy it in near mint condition with a nice Fender short scale gig bag included for a very good price on ebay. Once I had set it up with a fresh set of 30" scale chromes, It plays very nicely and the pickups have some punch to them. I'd say it was also worst as Fender don't specify the best electronic components for the player range, so I had to do some work to turn it into an instrument I'd be happy to gig with. The stock switch was junk that did not always make contact when switching, the pots were Korean "Jin Sung" which I know nothing about, and the output socket, although looking like a switchcraft was of lighter construction. A bigger issue was that with the volume at anywhere less than 100%, rolling down the tone pot also reduced the volume which I have since learned is normal for this model and I have seen described as "50's style wiring". I wasn't too worried about the issues as the neck, body, pickups etc were fine and I already had all the bits available to build a new loom, so I shielded the cavities with slug tape and built a new loom bases on a typical P bass circuit with CTS pots, a switchcraft switch, orange drop capacitor, and pure tone socket. The bass is now how it should have been originally. I also fitted a Fender Hi Mass bridge as I had a spare one and I prefer these to a standard BBoT, and a thumbrest as I use these on my JMJs. If I had not been confident and capable to take on the job to fix the shortcomings of the stock electronics, I would probably have been quite unhappy with the bass, however I am used to tinkering with my instruments so I wasn't at all worried. I quite enjoyed the project and there was a good feeling of accomplishment when everything worked perfectly first time once I had reassembled it. I took it to rehearsal, and the range of sounds available make it more versatile than my JMJs, but it feels similar enough that I could easily switch between them on a gig. Details of the upgrade project are outlined here -> and here ->

I know exactly who you are referring to, however the link doesn't seem to go anywhere. That may be a blessing based on previous listings.