Norris

Excellent tips Andy. I've got an ebony board to do soon and can't say I'm looking forward to it. Ebony can vary in hardness in different parts of the board - which makes your chalking tip even more valuable. Checking with a decent long straight edge every now and again will also help keep it on track

Mine is my nickname. It was given to me when I first joined a paying band in 1985 and stuck. For several decades it was the only name I was known by in musical circles, and even now most of them don't know my real name.

Around here most gigs are on a Saturday. A few Fridays and Sundays. There are very few bars that have bands on the other nights of the week. It would be difficult to get four gigs a week for a covers band let alone an originals band. Maybe once in a blue moon, but not week after week. Then as has already been mentioned, even four bar gigs a week will not pay the bills. Lack of opportunity and fairly low pay rates means that most musicians do it as a hobby. Then if you have a day job you probably don't want to be out that often either - it hurts too much after only 4 hours sleep

I didn't really start playing until the 80s but then I recall that 70s guitars and basses were considered crap - CBS ruined them all. Of course now they are worth a fortune. I always hankered after a Fender Bassman stack but couldn't afford one. Pretty quickly they were simply not powerful enough. Nowadays my back twinges at the thought of one. Sod vintage tone - I'll keep my class D

Build diaries, repairs and technical usually. Occasionally general and off topic. Now and again other musically related items for sale.

I used an adhesive called Weld-On for my celluloid binding. It has a high acetone content. I had no issues getting it to stay put and with no visible glue line. The only slight issue was the 10 minute working time, but that's not an issue if you've pre-bent the binding and prepared your masking tape strips in advance

A resistor would convert the power into heat. If you recall how hot an old 100W filament bulb used to be... Edit: Actually I wonder what the resistance of one of those would be. It wouldn't do your amp much good when the bulb eventually blows though!

It all started when Henry coiled one

[quote name='Hobbayne' timestamp='1505068051' post='3369281'] I once played a gig with the drummer who played on Lucky Number by Lena Lovitch. [/quote] Well if drummers are fair game... Once in my youth, back in the 80s, after a few beers, I was told that I was drinking with the drummer from Liquid Gold (one hit wonder: Dance Yourself Dizzy) and then proceeded to take the piss out of the tiny shiny gold shorts he wore on TOTP. He stood up to hit a cymbal at a certain point in the chorus which what made me remember them

Perhaps the higher action allows the fundamental frequency to ring better? It will have a larger string deflection than the overtones. There again if you are getting no fret crashing at all, then I don't know. I keep my action in "dig in" adjustment

[quote name='Count Bassy' timestamp='1505484944' post='3372308'] It might actually end up bieng left in the flat/house as it belongs to a family member. [/quote] Buy a small amp and have it delivered there direct? Then you don't have to carry it around

Definitely try an Ampeg BA-108 if you can. Lovely little practice amp and probably suitable for lower volume gigs

If anyone has ever wondered about the quality of a KiOgon loom - it's fabulous

I might be a little late to this one, but I've been gigging my V3 500 combo regularly for about 3 years. I've never found it lacking in oomph even on outdoor gigs and it is so much more articulate than the Peavey Databass combo it replaced. The tone controls have a large effect on the sound but I tend to use them fairly neutral - the natural tone is very good. The overdrive is also very good. I don't use the tone shaping buttons though. The best bit is the light weight - a one-handed lift, which is a revelation compared to my old Peavey

My current builds are lacquered but I'm definitely going to use oil on the next one - it seems a lot easier to get a good finish. Beautiful work Jez

[quote name='LewisK1975' timestamp='1505208498' post='3370164'] I may very well do the same, just picked up a cheap Squier PJ for a backup and that mod sounds handy... [/quote] A new loom is on order with him

I've had mine for 2 or 3 years now. Love it

It's passive and fitted with SD QPs. I might just give KiOgon a shout when I've found out if the knobs are split shaft or splines

P/J - they are both single coils (albeit split P). Is it worth trying a series/parallel switch? Anybody else tried it? The J volume pot needs replacing and the jack socket is a cheap Squier one, so I'll be sorting the whole loom out anyway.

It's a basic lack of honour

[quote name='hiram.k.hackenbacker' timestamp='1504637677' post='3366304'] Did any guitars meet an untimely death? [/quote] None were killed. He did throw a couple around though.

Quite a heavy set but very well executed ... except ... (and I am a fan) ... he's no Angus Young. Master of the guitar, excellent control of effects and feedback, can play flawlessly while leaping or rolling around the floor, brilliant showman - but I thought the BIB solo was a bit lame. There - I said it Chris was immense on the bass, although Mrs Norris said he looked like he had severe constipation belting out some of the harmonies Edit: Great to see Brian though!

[quote name='blue' timestamp='1504631955' post='3366232'] Twerking, we had some young ladies twerking at a recent gig. I'm 64, I remember commenting to our drummer; "This is something I'm suppose to like, right?" Blue [/quote] Apparently so. I don't find it particularly attractive myself - even when a young lady is doing it, rather than the chunky middle aged woman we were subjected to

Who wouldn't try to strangle the trombonist?

Give Andy Holland a call on 07919 651209. He refinished my Aria (linked in my sig? Can't see it on mobile site) and has recently done a lovely Firebird in Pelham Blue Edit; He's based in Blaby