NancyJohnson

After he went, he formed a band called Medicine Stick but he played rhythm guitar in that. I'd concur Living Colour were better when he was in the band.

When I was on holiday once I actually heard someone ask a waiter what flavour the chocolate gateaux was.

I just lost the will to live, to be honest.

Jedson!

It's funny remembering back...three of us formed a band at school and it felt like the WEM kept us together. It was always, 'Can you get the amp?'

While we all love to say what gear we use right now, but where did you start off from? Sadly, no original pictures from that period, but I borrowed £35 off my dad and bought a CBS/Arbiter bass from a small place in Staines, called Adam Music. It was exactly like the one below. I do remember that the EAD were flats and the G was roundwound. I chose Gibson plectrums because Kiss used Gibson. Haha. I'd borrow a WEM Dominator III from a guy who lived a street away from me - there seemed to be a lot of WEM and Watkins gear around; Charlie Watkins had an establishment in Chertsey, a kid from school had assembled a Watkins Rapier from damaged parts and the owner of the Dominator had a white Les Paul styled bass. Ampwise, I'm not 100% certain what my first owned amp was - I bought an unbranded 1x15 locally that I distinctly remember getting it home using a wheelbarrow. Aah, the '70s. It's a toss up between a really nasty H:H head or a Carlsboro StingRay combo; I have a photo somewhere of the StingRay sitting on top of the 1X15, so definitely owned both at the same time. It's all a far cry from the stuff now, but I guess when all we had was Bell Musical Instrument catalogues and monthly Beat Instrumental magazines, we probably didn't really know any better.

I just had a read-through of that thread; I dunno, you try and propose something that might be fun and it just saddens me re-reading it how pointless an idea it was. We could collectively have done something fun with the concept, but reading back at some of the replies just gets my heckles up and I wonder why I bothered. Eastwood were well on board too.

I have a playlist on Spotify that contains 5-10 albums that I consider my cozy go to albums. I'll rotate stuff in and out, but the handful that will never drop out are: Queen - Sheer Heart Attack Rich Kids - Ghosts of Princes In Towers Japan - Obscure Alternatives Aerosmith - Rocks Sugar - Copper Blue There's a handful of albums that I'll listen to elsewhere that haven't made it to Spotify yet: Veruca Salt - American Thighs (Breeders-esque grrls with guitars) Tsar - Tsar (Californian bubblegum pop/punk) Screams - Screams (great 70s US/Chicago punky/rocky) Charlie Sexton Sextet - Under The Wishing Tree (difficult to describe, Texan bluesy/folky/rocky) Sugarbomb - Tastes Like Sugar/Bully (Fantastic Texan Queen/Jellyfish style pop/rock)

It's 6.55am. Guess what BBC Berkshire are spinning?

I don't mind them at all, in fact I found it interesting how someone who was one third of Bananarama could break from pop they were doing and do something a bit different.

Going back to the original posts, I think I'm fortunate in that despite suffering (like the rest of us) from periodic GAS, I've always been of the mindset that it's always better to trade up and not generally regret what's left the building. The only bass I let go that I now have a pang of regret about is a Bongo 5HH. I just wish I'd had the strength to persist with it. I can easily survive on the four I have right now; these easily trump the dozen or so Gibson Thunderbirds that trickled through my hands over the last 10-15 years.

I was bidding on an NS Design NXT EUB over the weekend. Just forgot about it and it went for about £20 more than my limit. Oh, well...

We've had cats for years, the only issue I've had gearwise is one of them did love to scratch an old Ashdown MAG cabinet. That said, we homed a Birman about 18 months ago and we've had a few issues with her marking around the kitchen door, but she's never done this against my gear (yet!). To keep her away, we just put a sheet of cooking foil in front of my gear every night, she won't walk on it.

I just looked up The Real Thing on Wikipedia, staggered it came out in 1989. I remember a mate playing it to me for the first time on 30th March 1990; the only way I know this is because it was a Friday and we were driving down to Pagham for the weekend with our wives. It was also the weekend of the Poll Tax Riots in London. Our gals had gone down in a different route, my mate had just got a Porsche 911 and wanted to get all showy off on the A3 and he stuck the album on just before we got to Guildford. I have to say that I hadn't heard anything like it before, Mike Patton's voice was just majestic. Moving forward, I discovered Mr Bungle a couple of years later. I'd concur with @bubinga5, The Girls Of Porn was the highlight. The only thing I didn't really take to was the goofing off between tracks, so as soon as I had a decent DAW, I dreamily reduced it to a more succinct ten track album. I'd also say that time I was very into bands like Living Colour and Fishbone, so the content of that first album wasn't as a unique as experience as The Real Thing, but it was still a belter.

Anyone have a short explanation as to how royalties are calculated and paid out? I'm curious more than anything else. Our radio is tuned pretty much exclusively to BBC Radio Berkshire, they seem to have a very small playlist and I swear I've heard 'Cool For Cats' by Squeeze three times in the last week/ten days and in each case the station never plays the complete song. This isn't in any way unusual; the station will just latch onto an old(er) song and play it repeatedly. So, anyone know? Is it cheaper for the station to play oldies or not the full song? How much would the BBC pay out?

On the 'not a lot' subject, I hot-desked for a subcontractor at a very well know Chinese telecoms business and one of the Chinese girlies I used to deal with said she would expect to be paid £250 a month tops there for a job she was being paid six or seven times more for over here. The company regularly rotates staff back to China, so I asked her one time what she would do when she went back, she just said, 'Oh, I won't go back, I'll just run.' Thing is, cost of living is quite comparative to what they get paid - I'm not being at all flippant here, but certainly out 'in the country', where she was from, £250 (or the equivalent) goes an awful lot further than £1,500 would here.

Has anyone here actually pulled the trigger on a bass/guitar through this route and had any success? I've subscribed/watched a few You Tube channels on the subject; unboxings etc.

Hmmm. Ack, no. He was more than capable; I'd hardly say Wolfie was lacking in talent...he'd been playing 10 years by the time he went out with his pop.

Tiptop.

I've got an Aeropress Coffee maker that I've used about a half dozen times...it's minty. Free if anyone wants to cover postage, hit me up.

Ack, no worries. I'm just putting the question out there and appreciate your input. The appeal is largely down to the EUB being an extension of the bass as opposed to a new instrument per se; to me, I'm trying to look at it form the perspective of say a migration from four string basses to five string ones and I would state categorically that I have no intention whatsoever of upping the ante and going with a full sized instrument, any more than I would go down to a full sized viola! It'll just be the EUB.

I don't have the space for a big one, so the WAV/NXT will suit my need, I think. This has been a bit of a slow burn; from memory, I've only played a DB three times(!) and none of these were a total disaster; really not worried about bad habits either...sure it would be nice to do a bit of quiet stuff, but I want to experiment a bit too, I keep wondering what it would sound like through my Darkglass...

I've been playing regular basses for 30+ years and I've been thinking about dipping into the EUB market for a little while - I'm drawn to NS Design basses (WAV or NXT), from a value for money point along and general design aesthetic they tick my boxes and as I'm a kind of in at the deep end type I'd go the whole hog and pull for a five string from the outset. The primary question here is that if I went with a double bass, I'm looking at a scale length of 40" or thereabouts, the NS OMNI only comes in at 34" (so comparable with a regular bass)...if I went with an Omni, it's not really going to give me much more than playing a fretless bass is it? Hell, you can play them on a strap. Size aside, is there any real disadvantage in going with a 40" over a 34"?

I saw something very similar with a guy rack mounting a Darkglass head. Rubber feet off, longer screws to reattach. Seemed to work well.