Doctor J

Get the string off and you should be able to push it back in with your finger, enough for the screw to catch. You won't be able to do it with string tension acting on the gear which is pushing the shaft out.

That you've started a thread about it suggests you see the red flags flapping but think/hope someone might come along and tell you it's actually ok to ignore the flapping red flags? flap flap flap We see them, too, even from here 😉 flap flap flap

Mullet the blues guy

Atheist in Whelans. It's just Kelly and a bunch of young hired goons, these days, but they are absolutely superb young hired goons. Note perfect, sublime stuff. Between this and Cynic last week, March has surpassed any reasonable expectation of quality giggage.

Gin Excess The Old Men of Summer The Loss Boys Power Shoulders Total Recall 80's

Steinberger detuner bridge for headed basses

I love playing bass but find fretted bass to be a mediocre solo instrument, no matter who's playing it. Fretless allows much more subtlety and it works in the hands of some players. Sonically, to me, fretted just sounds unsuited to a lot of the emotive kind of things you hear a lot of players attempting. Too metallic, too noisy, just not pleasant to the ear. I get taken out of the music by the unsuitable characteristics of the instrument. The same piece of music played on certain other instruments usually sounds so much better. I appreciate the technical ability of the players, but it's just something which doesn't hold any interest for me as a music listener. Bass, as an ensemble instrument, however, locking in with some drums is manna from heaven.

I knew a classical flautist, years ago, who couldn't get their head around the idea of composing their own music and, in particular, improvisation. She was quite excellent at her instrument whereas, in the band I was in at the time, writing our own stuff and improvising were completely natural to us, it seemed like the kind of thing every musician would just instinctively know and do, but not so. When I'm writing music, I usually hear everything, all the instruments and melodies. The process of making a real song out of it frequently becomes a tedious chore, as taking it out of my head and into the real world often involves lots of compromise because my ability to play the required instrumentation and manipulate my voice, in particular, frequently doesn't match what I think the music requires. I have to work hard to get rid of the pre-conceived idea and work at something I can actually do and record in real life.

Lovely. I always wanted to try one of the Milan basses. I have one of the very short lived Tony Iommi signature guitars from that era, based on the Vienna model, a fantastic thing. I managed to visit the facotry in Coventry around 1996, a dream factory, for sure. They knew what they were doing, so I'm sure that bass is superb.

I would be thankful it wasn't covered in piss.

Ahh don't you see? It's his version of a Lace Sensor!!! He has science by the throat!

Very sad to hear this

For the listening pleasure of those who use Spotify

There are a lot more people interested in sharing their music than there are people who want to take the time and effort to listen to other people's shared music and comment on it. As I recall, the Share Your Music and Noodle Bar (R.I.P.) areas were created to give a home to this stuff and to try to reduce the clutter in other forums of self-promotion threads which, let's be honest (going by the views vs responses in those forums), there isn't much genuine interest in.

Is it a user account who had set up their name as "Reverb" and is just firing out PMs by the look of it. If you click on the sender name in your messages it should give you more details on the account.

What is the email address it's coming from?

Just home from seeing Cynic, first time without Reinert. While I enjoyed them and the new guy is superb, it's not the same at all.

Jaco only needed 4GB of RAM

If the truss rod has seized and the neck is financially impractical to fix, you're stuck so what have you got to lose by brute force? Loosen first, of course, just to see if you can get it moving, and possibly lubricate the threads?

I'd say the John Entwistle Deans which came out after he died were fairly transcendent, emerging from the far side of the grave and such.

That sounds fantastic.

It has the black plastic insert in the truss rod channel which they don't use in US instruments, that I am aware of.

I was in the school band with a fantastic drummer called Glen and, on his recommendation, joined the rock band of a mate of his once we finished school. Eventually, he joined the band, too, as we were involved in a thing which was going to be on national TV. We got to go to a nice studio to record, as we were going to be miming during the show itself. On the day, all the acts had to go through the full show several times, so camera angles and the like could be sorted out. Once we had finished our bit, he and I hit the bar until we were called back again. Come showtime, we were both a little worse for wear, we were not quite late teens yet. The song was a power ballad type (it was the very early 90's and grunge hadn't killed that scene yet) and during the emotional intro, I heard my name being whispered loudly. I turned around and, as the bass drum started booming through the PA, he was shaking his right foot wildly out the side of the kit at me, but still the bass drum boomed out loud and proud. Miming to yourself in public is, as it turns out, quite an unusual sensation if you're not used to it. This made us both crack up laughing. We recomposed ourselves got through the show in an earnestly appropriate fashion, though. It wasn't caught by the cameras, thankfully, and the performance came across fine on TV. A while after, the band fell apart and we went our separate ways. He was a top man and a truly savage drummer. I was delighted to see, years later, he was playing stadiums and shifting big units with The Script.

For Merciless tone shaping ability, no doubt.