molan

I wanna know what you used the tree climbing harness for in your studio? I'm guessing obscure mic placement in the top corner of the attic for acoustic effects?

[quote name='Josh' post='460845' date='Apr 12 2009, 10:38 PM']Pfft, 36 more like.[/quote] You are too kind young sir

Play fast sixteenths for half an hour. By the end of that the pressure you're applying should be just about right

Not quite 50 yet but only 6 months to go

I'never checked their stuff in huge detail but the stuff I have noticed advertised by Absolute is usually listed at way over the price stuff sells for here. I've actually used them as an example of what great prices I've offered on stuff in the past because they've made my stuff look like an absoluite (sic) steal!

There are two commonly repeated contenders for the derivation "Happay as Larry". One is that it refers to the Australian boxer Larry Foley (1847 - 1917). Foley was a successful boxer who never lost a fight. He retired at 32 and collected a purse of £1,000 for his final fight. So, we can expect that he was known to be happy with his lot in the 1870s - just when the phrase is first cited. The alternative explanation is that it relates to the Cornish and later Australian/New Zealand slang term 'larrikin', meaning a rough type or hooligan, i.e. one predisposed to larking about.

If you can find someone to take the missus off you in exchange for an early pre-Gibson Tobias then I'd go for it

I'm not sure it's a Tune. The tuner spacing on Tune Bass Maniac looks different to me A&D tuners very close & almost horizontally aligned:

Although I'm no slapper I've been told, by someone who really can slap, that my NT Spector has a great slap tone. It's the same essential body shape as a Streamer but sounds quite different from any Streamer I've heard. Obviously the woods, pickups, pre-amp etc are making the big differences here! Might be worth trying a Spector if the Streamer body shape is what attracting you Euro Spectors are generally great quality and in a broad price range similar to a lot of Warwicks. One of the biggest differences I've personally found with Warwicks is the feel of the necks. I had a Streamer with a very open grained wenge neck which I hated but my Infinity had a gorgeous maple neck. I did find the fretwire on the Infinity a bit of a handful though, really heavy duty chunky frets which I wasn't that keen on.

One of my faves:

[quote name='tarcher' post='458732' date='Apr 9 2009, 07:15 PM']Sounds like a really useful piece of kit. Could I record from a mic onto it and then use it for training,like if I got my teacher to lay down some guitar tracks then I could play my bass to it?[/quote] Not sure if you can record directly to one but it will play any MP3's so all you need to do is record to your PC & save as MP3 & then copy across to the Tascam. I have one of these at home & they are pretty useful for learning new songs

We used to play 'Stand by your Man' in one band I was in. It was so boring I lay on my back on the floor & pretended to be asleep at one gig. It went down really well with the audience & I then got saddled with having to do it at each gig, whaever the state of the floor etc. - that taught me a lesson or two. . .

In my old band we had a guy who worked with us for a while who was a top quality touring pro who just happened to take a liking to us so worked for £50 and a few beers. He was about 6' 4" & had massive shoulders to go with it. Full of "tales from the road" like - did I tell you about the time I lost my spleen He basically frightened the hell out of everyone so no-one took the piss out of him. Only exception was our lippy guitarist whose Dad told him he was too quiet in the mix in the first half of one gig. He had a load of his teenage mates in the audience & wanted to show off his chops to them as well. He gave the sound man a bit of a mouthful & he duly said he'd sort it in the second half. At which point he removed the guitarist almost entirely from the mix After the gig he also explained in a very painstaking, & mildly agressive, manner why you should never screw with your sound man. A lesson the guitarist took great heed of &, to this day, is as sweet as pie to every sound man he's ever worked with since. . .