Woodinblack

Its hard to capture its greenness really - in the sun it really glows Finally getting a chance to play it, it seems rather good!

No, that one was made 11 basses after my one, but otherwise, looks pretty similar!

Or frankly invest in a basic second hand iPad from the last few years which won't cost much, and then the world is your musical oyster.

Mine was the guitar head.

That is what it is - an Emerald Green Euro 5. I was told it was 2003, but I read the serial as 2001, ie, serial starts BD0xxx.

It was for sale, and I just bought it! It only turned up today, so I haven't had a chance to get pictures yet, so here is one of its sale ones:

Oh look at this, Time for me to (re)join the group!

One of the rare songs in Locrian mode, the mode people say you don't write songs in!

Depends I guess - I have done over 100 gigs using the jack out on my iPad without issues.

I would say Jimi Hendrix - endorsed more stuff since he was dead!

I had a carlsbro stingray and it was awesome. Reverb, overdrive and a Suzz control, what more did you need??

Well, surprisingly enough, even the iPhones will work here. Get yourself an apple camera connection kit (a plug from USB to lightning) and most of the synths will work on it, just as well. If you have an iPhone with headphones, run that to line out and you would be impressed. Obviously it is a bit smaller and harder to see!

Well, there are plugins for windows. I have windows PCs but don't use any of them for music so I can't really say, I am sure others will chime in with what they use. No iPad lurking around?

Depends on what laptop - i am a Mac User, my laptop plugins are expensive (I use equator 2) but the iPad stuff is pretty cheap and very powerful. Latency isn't a problem on keyboards in most situations. To be honest you can get more range with software plugins, although sometimes it is just nice to have a standalone device. Yes, absolute have a good range of stuff.

It is a way to go, there are many good synth plugins.

Indeed. Inadequate volute, but can't replace it with a different style because people didn't like the look.

I do like zooms manifold effect

I am sure there are gibsons with neck breaks - I think it is par for the course for early gibsons to have those, I doubt the basses fared better as it wasn't the neck that was an issue itself.

Did a wedding at the weekend. Arrived, took a while to find someone who could tell where we were setting up. It was a really tiny stage area, that already had some huge speakers in. Started moving those, then the DJ who owned them turned up.. oops. He was ok though. Managed to cram in there. First half bad choice of songs near the start so the crowd weren't really with us. In the second half we threw out everythign that wasn't ska or party, and it went down a storm. Also started that half with a song we had learned for a first dance, but they had the first dance to the DJ, so by the time of the second first dance, loads of alcohol had gone through and they were more up for it anyway. So all went ok, and they were all happy in the end, so double the money, half the time, what is not to like!

I can think of a few tracks where bit crushers are used well, mostly it has to be said on industrial music, where it probably came from some broken digital effect in the first place (most effects came from some fault to start with!).

I use delay - there is nothing about it that takes the rhythm away from the bass, if anything it enhances it. The delay is fixed, you know when the repeat is coming back so you are doubling your notes. Take this for instance, Pneuma by tool, which if I linked correctly is at 1:12, when the bass comes in with a slapback echo, so it is one single echo at a fixed time, and the band is sync'd to that Or something more old school like Pink Floyd Where the bass is thickened up and runs entirely with a lot of echo. I use it in a couple of songs, whole lotta love in the bit where the guitarist is doing something - me and the drummer do a section on a low e, then low e, higher e before going into the bass solo part (yes, there is a bass solo part in ours), at which point I kill the echo.

Umm.. ok.. we are going for absurd are we? Right, I will bow out, sorry for suggesting that a bolt on neck was something other than a financial decision for mr fender and shimming a neck is just a normal adjustment for a perfectly fine instrument.

The ability to shim the neck is surely there to correct a problem in the build of that instrument? Are there any other instruments with a bolt on neck? Most acoustic guitars don't have them. There aren't many bolt on gibson guitars, but I don't recall that ever being much of an issue? And anyway, Mr Fender when thinking about making a bolt on neck was not thinking of strength, or customisation of a players experience, he was thinking about economy. I am not in any way saying that it is a bad thing, just that it was 100% designed as a budget thing. And that is how I see it. I would also say my favourite bass I have is a bolt on - again, not due to sound or sustain or convenience or budget or the ability to shim, just because I like the bass.

Why is that relevant - any joint where you double the size of the object is probably going to be strong - you could put another joint half way down the neck and it would have no problem with strength, it would just be bad as a design. Literally the point of a bolt on neck was economy, it is handy, it lets you swap necks, it means you can produce them in different places, it lets you use more automation, it makes storage cheaper and it lets you replace if things are broken. There are lots of things that are great about it, but it is a design based entirely on economy rather than strength.

We used to have one of those as a company vehicle to move demo equipment round. It was good and really secure as you could leave stuff in it - noone would assumed if you owned anything of value you would be driving a multipla!