Doctor J

Billy's the reason I picked up this 😁

😂 Hey, it's all cool, I'm open minded. He reminds me of Sue Perkins.

Adjust the pickup heights so the output of each is balanced through an amp. Use your ears to set the height, not your eyes. Generally, I find the bridge J needs to be considerably closer to the strings than the P.

I went in a completely different (discofied) direction to start off with but then went in several other directions. The song: I have no specific ill will toward pigeons, unlike some of the other lads here, though I'd never fully trust one. From the perspective of the young gentleman looking through the lens, that pigeon would seem quite large. I thought of a conversation between Ted and Dougal about some cows. The technical stuff: I gave my brass snare an outing here. It's the Yamaha kit into Thomann and Behringer's cheapest mics and audio interface. Bass is a Blade B4 Jazz into an Avid Eleven. Guitars are a Bacchus Empire and Strat into the Eleven. No other funny business other than my dodgiest Ronnie Drew impression.

Nice!

Yes! More of these kind of threads!

In the early-90's, a couple of mates and I started a doom/stoner band. I switched to playing drums because one of them played bass, the other was a guitarist. We wrote some (I think) really good material but couldn't find a singer. Nobody we could find in Dublin wanted to go down to the low tempos so we never got to gig those songs. It fell apart over time and we all moved on with our lives. It still irks me because I still love the music we wrote and we were bang in the zeitgeist for the exposure that kind of music would get in the following years. After listening to some old rehearsal tapes, I started properly recording the songs a few years ago, just chipping away at it every now and then. The other guys don't play anymore, so it'll just be me and, maybe, someday I'll find a singer for them.

Yep, lots of opinion on these, see below https://www.basschat.co.uk/topic/409143-ibanez-ehb1005-and-1505-headless-basses/?tab=comments#comment-4036087 https://www.basschat.co.uk/topic/454300-nbd-ibanez-ehb-fanfret-mediumshort-scale/?tab=comments#comment-4553436 https://www.basschat.co.uk/topic/447008-nbd-ibanez-ehb-short-multi-scale-headless/?tab=comments#comment-4403549 https://www.basschat.co.uk/topic/392394-new-ibanez-headless-basses/?tab=comments#comment-3957652

The expanded Live at Leeds reissues had a lot of stage chat from Townshend and Moon which was quite amusing.

It's sad that such mundane conservatism has crept into music. In the 70's and 80's, there was so much excitement seeing bands using innovative and interesting instruments. Now, it's as if there's a dreary uniform bands feel they have to wear in order not to upset those who demand adherence to an aesthetic code for each genre. It's a depressing attitude. No risk, no character, just conformity. Meh. 🙂

Non-reverse Thunderbird is ugly. That is law, rolled in powdered fact and deep-fried in truth. Nom nom nom.

Nah, if they left it blank you just know there'd be a load of dopes putting Fender logos on them 🙂

I already clarified it above but just to make sure... It does matter. If you only slacken the strings, you've still got the truss rod pulling the opposite way and as prone to temperature contraction as the strings, so you can do more harm than good if not careful.

I'm suggesting if you slacken one you should slacken the other, since they are designed to counteract the forces each other applies. Without string tension, the taut truss rod will arch the neck back unopposed and still be as prone to temperature induced constriction as the strings would have been. Personally, I would leave it as is.

The non-reverse Thunderbird is a thing of cruel deformity

The neck and truss rod will expand and contract, too. Without the tension of the strings to work against, leaving the truss rod at tension is probably not a great idea.

Sweet - Live at the Rainbow 1973 The Who - Live at Leeds Judas Priest - Unleashed in the East James - Getting Away With It... Live Black Sabbath - Asbury Hall, NJ 1975 Soundgarden - Live from the Artist's Den E.S.T. Symphony Ronnie Scott's Quintet - Never Pat a Burning Dog Morbid Angel - Entangled in Chaos The Fall - Last Night at the Palais

He was pretty thick, too, that guy.

Made even creepier because it looks like the Wong section and the Dirty Loops section were filmed separately. There's something about Dirty Loops which just doesn't work for me and I'm not sure why. They're incredible musicians but it just won't click.

You need to use rehearsals to weed this bad habit out of him. Devise your setlist with songs in clusters, where you go from one song into the next without a break between them. For example, start your set with three songs - bang bang bang one into the next. Then pause to talk to the crowd. Then another two songs - bang bang, etc. Rehearse the songs in those clusters and time your rehearsals. Know how long it takes to play your set, to the minute. If he can't change his tone enough by clicking on a pedal, adjusting his volume or tone or changing pickup, then he needs to find a tone which works for all of the songs in that cluster. Your audience came to hear music, not pregnant pauses, not tuning, not jokes or banter, especially not some lad faffing around with knobs and switches. Never forget that a live show is a performance, not just playing songs. It starts the second you take to the stage and doesn't end until you leave it. Everything, what the audience sees and hears between those two points, is your band's performance.

He sounds like Morrissey. Oh, wait, just read the end of the ad. He also sounds like Morrissey, I see.

Get a Badass (or Omega) and file the string slots wherever you want them. The screw holes will line up with a Fender bridge so no extra holes, at least.

It's something I'm thinking of doing to my own one. It's a slightly later model without the control plate and the jack is already side-mounted. The control plate is class, though, it would be a shame to mess around with that look, but a side jack offers some room to play around with controls and free up some switches to be repurposed. Also, it must be noted, there aren't many people who pick up a L-2000 and quickly think "This is all fine, but couldn't it be even more tonally flexible?" so a doff of the cap in your direction is due 😂

You might have room to move the output jack to the side, move the bass and treble pots down one and put in a pickup blend knob, then make pickup selector and series/parallel switches into separate inner/serial/outer switches for each pickup.

...you'd be King of the World!!!