Maude

I find the Entwistle PBXN to be similar to the 1/4 pounder, as in doesn't quite sound like a classic P but has a nice top end. But I feel the PBXN has more mids, kind of like a 1/4 pounder with the mids turned up. I considered getting rid of the 1/4 pounder and putting a PBXN in that bass. They're cheap but I think they're great. Might not be quite Precision enough for traditionalists, but neither should the 1/4 pounder be. 🙂

I thought everyone sold them on to facilitate the purchase of the next craze, the pink Westfield P. Or was that before the Shaun Ryder P?

Funnily enough we went out in the kayak today and paddled up the creek off the River Fowey to Sawmills Studio where that album was recorded, it's only accessible by boat, a very long woodland footpath or a quick run down the railway line from the nearby village of Golant, where after a couple too many in the village pub, a member of Supergrass (can't remember which one) slipped and cracked his head open on said railway line. The joys of recording in Cornwall.

Phew, for a minute there I thought you forgot about Dre! 🙄😁

The issue I have with 'the 80s label' has pretty much been summed in this thread. There was a huge diversity of popular music in the 80s and the changes which different genres went through and the speed at which those changes happened was immense and exciting. The 80s get remembered for the cheesy pop, but the alternative and indie scene was incredible. I'd love to see an 80s band that did an upbeat, danceable set of alternative classics, New Model Army's Get Me Out, Sisters of Mercy's This Corrosion, The The's Infected, etc. The 80s started with the last throws of punk and disco, punk led to post punk, new wave and the new romantics. From the disco scene there came rap which led to hip hop, then the acid house and rave scene, and the beginnings of the Manchester indie scene. Metal was huge with the NWOBHM and 'the big four' of the thrash scene were huge in the 80s. Goth and alternative was at its height, and we haven't even started on the 'pop' that the 80s gets remembered for. I'd say the 80s was quite possibly the most diverse decade for popular music with the biggest growth and change out of any decade. Music released today could've been released a decade ago and you wouldn't really know but most music from '89 could never be mistaken for music from' 79.

Ditto 🙂

Soulfly by Soulfly. It always reminds me of hot, hazy summer days. It takes me right back to the baking hot sun setting over the Donnington campsite, with smoke rising from multiple BBQs, campfires and spliffs, drinking with friends and chilling and a soundsystem in the distance blaring it out.

Can we have Hocus Pocus as well? It's just so crazy yet amazing.

Is it textured or smooth like glass? The second picture looks smooth but the grain in the first picture just looks so deep, like when they're sandblasted.

I suspect that we/they/whoever it is are just lining up guinea pigs. Get the pubs open, fill 'em with p!ssheads and see what happens. Same with the crowds that just can't wait to get on a plane to Benidorm. If they all start dropping like flies then we'd better reign it in a bit. If they're OK, maybe we can relax a bit more.

Ooh that's perdy! I want some blackcurrant and licorice sweets now. 🙂

Oh yeah another thing in that article was possibly open pubs but not allow any music at all including dukeboxes and background music. The theory being that the louder you talk the more spittle you project so shouting over loud music or singing along would help spread covid, especially as the natural thing to do when someone can't hear you is to get closer and shout into their ear.

I've said it on here before but if pubs can only let reduced numbers in due to social distancing guidelines, why are they going to pay a band to pull extra punters in if the pub can't let them in anyway. I did read an article, can't remember where, that said the government might only allow pubs to book solo artists and duos to start with to allow for distancing on stage areas. I hope not.

Will do Sir.

Thank you 👍. The cream one is an 80s Hohner Arbor fretless P. It's got an unlined rosewood board and a partially finished mint scratchplate. Another one that's not finished, ha ha. BTW, you do realise you're on a bass forum and saying the Kay is definitely your favourite? 😂

Thank you. 😊 Yes that's the D'addario set, I think that's the only gauge of half rounds they do. I usually go for the enr72 which are 50 70 85 105 in long scale as I like a reasonable bit of tension being a bit of a gorilla when playing, so would've liked a higher gauge, but these are actually really nice. I haven't noticed any irregularities in tension between strings, but to be honest I don't tend to anyway, I just get on and play the thing. But nothing has stood out to me about them as being odd.

As an oil oxidises (dries in the atmosphere) it produces heat, not very much but if rags are left screwed up on top of one another then the heat can build up, combined with the air trapped between the layers of rag you have the recipe for fire. The build up of heat can reach the temperature needed for combustion. The wood dust is dangerous purely because it's flammable. it can't spontaneously combust though, it needs a source of ignition. But again, because of the air trapped between particles it's very easily ignited. If it's suspended in the air then it can exploded with an ignition source as the dust covers a large area with lots of oxygen between the particles. Lots of dust that you wouldn't normally think dangerous can explode.

It looks a very fiddly job, but looks great 👍.

I have actually finished this now. It was stringless for a while as I was undecided on what I wanted on there, and what will fit the stupid guitar tuners. My strings of choice are D'addario half rounds so after some checking on where the windings end, the outer winding needs to go past the nut but finish fairly quickly as it won't go through the tuner and you can't have to many winds on the tuner post as they are so small, I found they'd fit so ordered a set. Now on they feel and sound great, good tension for a short scale. I like a thumbrest and the pickups weren't doing it for me so I toyed with getting a chrome one to match the hardware but wasn't sure. The black one I had didn't look good and then I thought, why not just paint it the same green, so I did. Then I couldn't find a suitable place as the design of theses basses means the strings are very close to the body so the standard plastic thumbrests actually sit higher than the strings, and to get enough clearance to play properly you need the thumbrest to far away from the strings to be comfy, well for me anyway. So I sanded the thumbrest down on an angle to lower the height in total and to get the string side lower still. Plenty of string clearance and comfy to play, perfect. In fact the strings and thumbrest, coupled with the slim neck and featherweight body make this a super comfortable bass to play. Finished pictures. The vacuum cleaner drive belt hanging system (pat pending). Ooh sparkles 😁 I've plugged and drilled the holes for the old strap pins as they were just taper fit and prone to coming loose, fitted a similar style but they are held on with screws like normal strap pins so are secure. The following two photos are in normal light so better represent the true colour, it's hard to capture it properly. The picture with the flowers reflected in the scratchplate is the best likeness of the colour. I've painted the bottom part of the control knobs black and have decided to leave the top yellowed plastic as the match the tuners. The only thing left to do is wire in a pickup series switch, but that's nothing exciting to look at. So there you go, my minty Longhorn. 🙂

Is that a pee take performance or is that meant to be a serious cover? Either way it's pretty shocking.

I'd better put on a nice heavy knit cardigan then! 😄

It's too early to remember exactly but from memery there was quite a bit of Rick for looks P for sound, as in Top of the Pops, videos, etc got the Rick but he recorded with a P. There was a time line where he started with the Rick but moving progressively towards a P more and more. I think nowadays in From The Jam he's exclusively a P man. I'm sure others will correct me on the exact details but that's the jist of it I think. 🙂

Should've offered her the £50, or whatever it was she wanted, but said that you don't trust any other means of getting it to her other than collection in person, look what happened to the sax after all. See if she comes to get it.

Bigger audience than usual then.

Fair enough, I was just going by a post in that linked thread where someone sent a bass in an oversized package to France for £52. It doesn't make sense, but not a lot does anymore.