SpondonBassed

Welcome Brambasstik.

Welcome Quaddy.

Welcome Christine.

Welcome Dave.

Thanks. Even though I've seen it and been blown away by the feel and look of it, I am even more in awe of it under good natural light. Artificial lighting doesn't do it full justice.

Welcome Dan. Where are you based? Here is a post with names of members who are willing to help:

Why not pop a couple of blood red LEDs in the pug's pupils and scare punters on Halloween? Scary and sweet. Simples. It's looking well J E

When Emberton Park opened, our family business at Ravenstone Mill caravan park suffered and we had to sell up. It was in the recession of the early seventies, strikes, rolling power cuts etc.

That was before instant gratification became a marketable commodity. You are right none the less.

Okay. That's cleared it up a little for me. My question still stands. If a recording of sufficient quality exists, would you hear much difference?

Interesting to note; going by the scratch guards and control plates one has a jazz and the other has a precision. Both seem to have a p pup. I'd like to hear the recording that goes with that photo. Would you be able to tell the difference, assuming the recording was of sufficient quality?

That's a much better place to kick off from in my humble opinion. It does not impose any style on those participating. Whatever comes out, even if it is in the style of The Blues, is dictated by the participants.

I need a little lie down after a long funk. Thank you.

I've not been in a position to do owt other than check the website. It'd be a shame if it has wound up for good. If it's just a case of Andy moving on, the spot might be up for grabs. It's still a music pub after all.

Congrats! That's one puppy that I could easily forgive even if it ate my slippers or pooed on the sun-lounger.

I think of it as setting the bar to the lowest common denominator. That sounds derogatory but I don't mean it to be. You are quite right about predictability being one of the good things in 12 bar chug alongs. However, I don't have particularly exotic tastes in music. I'd like to open it out a bit. Like EBS_freak said - it's not a lot to ask.

I felt the same having gone around the room with my set list looking for someone to play melody with me. I got lots of favourable comments on my set list but it when I'd pick up on comments such as "I like that one" or "That'd go down well here" I was told "it's too difficult on guitar" and "it's not a standard". Despite having over thirty well known tunes in my set I couldn't hook up with anyone who'd do the homework and make it happen on the following jam. Bah! With @PaulWarninglast year, we'd discussed doing an Open Mic with some tunes that he and Wendy had been doing the rounds with as a punk duo. He let me have clips of them playing some tunes and I hacked out the bass lines for them at home. We met up after about a week and did those tunes and one other that we knew each knew independently of each other at the Horse and Groom. Simples. It ought to work for Jam nights too That was, as I realise now, an exception to the rule.

GAS needs no excuse. Fill your boots chap. You may have overlooked the current trend for wonky things.

I think of him as the man who made a Honda 250 with full fairing look like a full dress Gold Wing. Pop.

Fair enough. I said that because a lot of an instrument's character comes from how it is put together. Folk make sharp distinctions between the big F's products based on who puts them together for example. American, Mexican, licenced to another brand name, they all look the same (to general onlookers) but their owners will quickly tell you what's different. Assembling at home adds uniqueness for someone like myself who will probably not invest in making from scratch. But I do take your point about scratch building being truly unique. It's a LOT less worser than buying parts off the shelf.

I missed that first time 'round. Excellent.

Kits and pre-shaped parts are a great place to start if you want a truly unique instrument. You'll get you a deeper understanding of your instrument. You will also get an idea of whether you want to progress onto a scratch build. It often comes down to you owning or having access to a thicknesser as to whether it is feasible to make a scratch built body. I think most good timber merchants will supply to a specified and uniform thickness however. Then it comes down to making (or sourcing) templates that will guide a router. After that, hand carving is always an option. I've yet to attempt a scratch build. I probably wont do it. I have to prioritise and playing better is higher up on my shortlist than gear acquisition or building.

No need to apologise. Not meaning to take the weewee but with your screen name your situation is particularly ironic. Better luck next week mate.

It's a very good question. I have put a crude shim in my kit build to raise the neck from the body. This allows a better range of saddle height adjustment at the bridge. What I really need to do is alter the plane angle of the neck pocket floor and remove the shim. The instrument plays and sounds okay as it is. My natural inertia stops me from modifying it because I have not yet got my head around how I'm going to do it accurately enough. I also have the idea that I could leave the neck pocket as is. I was lucky with my kit in that the neck and pocket came with a really good fit. I imagine that, like me, you would be reluctant to risk cocking that up. In that case a change of bridge height would work. This could be done by making a rebate for the bridge, similar to how high mass bridges are installed. One day I might be in the right frame of mind to tackle the issue. For the most part, I want to spend more of my bass life practising than building. The kit is a potential test bed for some control tweaks somewhere down the line and that might be the time to refine the neck/bridge relationship.

Welcome Jacob.