Bridgehouse

I’ve played one stage where having that setup on one edge would have lifted the other edge up!

£20 says they sack the guitarist.

And that statement right there tells you something is wrong - very wrong.

So for all you guys that now have a Stomp in your grubby mitts.... What do you think?

Tease

Indeed - but when you look at his total sales, some of your faith in humanity might get knocked again....

I have never, and never will pay for any recorded material that has any of Mr Richard’s drivel on it.

I’m no fool and my money is only parted with after careful consideration

You have Chromes with no silks?!

Though his £70m net worth is a bit more than your average lottery win. Looks like his numbers were better than the winning numbers...

You could reform as much as you can and then strengthen the crease with a strip of tea bag

For the benefit of @fleabag then - the little black wire from the battery

It depends on what way round the battery neutral and common ground are wired to the socket.

I’d say it’s odd. I’m in an originals band - we are effectively a backing band for an original singer songwriter - he even does the same material solo on his own. For bass duties I’m given a full free range - I decide what to play, when to play it, what kit to play it through and whether it fits or not. There’s the occasional song where he will say “I’m thinking drums and bass come in on V2” or “Maybe keep the bass going through that quieter section for a bit of dynamic variance?” But that’s it. It means we all have a shared responsibility to the sound overall - we have skin in the game. If we write well and it works we feel collectively responsible - and visa versa. Actually makes me want to turn up and play.

Ibanez tend to wire theirs in a way that doesn’t work with jack-charged wireless units.

I’ve been chatting to a mate of mine who came to our Jam day yesterday - he builds guitars, and brought along two of his own builds - a fan fretted job and a fully relic’d Les Paul style - he’s a very talented builder and really knows his onions. His speciality is complex historic copies and very authentic relic jobs. His initial comment was: ”From a construction point of view l liked the body contours on that bass, but the neck seemed a bit thick and square in comparison to the slinky body. Those who have played some of mine will laugh at that“ He likes a chunky neck and a lot of his builds follow the same formula! His general view was the body contouring was well done - different, comfortable, light weight and nicely proportioned. Interestingly, as primarily a guitarist, he actually preferred the chunky neck to the usual guitarist preference of a slimmer neck that feels more like a guitar. A couple of other guys played it in a second room in a more informal jam session - and most of their comments centred around the weight (liked it a lot) the chunkiness of the neck, and mostly around the pickups. Although the switching caused some confusion, they really liked the combination of a maple board and the bridge pickup that gives a raspy biting tone that they felt was quite different from many basses they had tried. It really suited the more punky rocky numbers that we did during the day - and really came into its own on the tracks which were definitely rhythm driven.

Completely agree - there’s a good reason we choose Quad to do our guitar jam days (nearly 30 people there yesterday) and Quad is the natural choice. I also agree that Bob’s backline stuff is a cut above. I guess my interest was piqued by variation amongst the same model by the same manufacturer!

I think ironically the room you use is the one that had the best Mark Bass setup in it.. certainly better than the one in the theatre room!