Stub Mandrel

Yes.

The Toe

For tonight, a very 'compact' but excellent venue, the Bush in Upper Cwmbran. I do have a spare bass and a full rig. I could just go into an emulator and cabsim on the PA... The bitsa bass is neck from a Harley Benton kit, everything else is off the net, body from a blank, Strings are HB flats as they are nicer than Fender ones.

I have a headless that's forty years old. It may have been innovative once but it's vintage now. The hanging mechanism (which shouts 'gimmick' and appears to lack the obvious improvement of gearing the two sides together) could be described as innovative in application if not mechanism. But just being a headless bass is not innovative in any way.

Because they've been around for about 2/3 of the history of the modern electric bass?

Nine Inch Gails Attack of the ¾-foot women.

True confession... at my last gig we had a semi-scripted narration by 'Dr Weiner Schnitzel' between songs. That said, he disappeared near the end to return dressed as a clown with a sledgehammer. But this did result in a sticky end...

Nine Inch Tails (Band of miniature dachshunds)

I don't see an applicator ... only the cleaning fluid?

That's interesting... especially as their highly rated ones seem to be poor at blocking higher frequencies and the lower rated are poor at blocking low frequencies. This may give a more 'hifi' sound but it's the upper register that does the most damage so for on stage protection might some top end attenuation may be preferable at the expense of fidelity?

Interesting how views differ on the Alpine Musicsafe. I suspect it's got a lot to do with individuals ear shapes. I got a set recently and they are the first ones I really get on with and they clearly fit me well. I prefer the 12dB white inserts as I like to be engaged with the music and am not in silly loud bands. I do find that blocking the filter makes them harder to insert, they didn't come with an applicator but it's easy enough to get them in by holding between finger and thumb. For a minute or so they sound a little muffled but I seem to adapt quickly. They are the first I have found that I am comfortable wearing all night, and even the 12dB takes the edge off cymbals and snare. One oddity is that as they don't make my voice quieter, I have to remember to speak up when talking! They do make singing backing vocals much easier though. These ones, much better than others I've had near this price and higher: https://www.thomann.co.uk/alpine_musicsafe_pro_black_edition.htm

The finish looks cheap.

The worst things you can do? Talk yourselves down. Not telling people they are having a good time. Telling people what each song is in advance (people enjoy the buzz of recognition). Waffling or just appearing to be waiting for something to happen. Not acknowledging applause, dancing etc. but keep it proportionate. Criticising bandmates, the venue or audience members. Getting carried away and thinking upur banter is more entertaining than the music (it isn't unless you are Billy Connolly, Jasper Carrott or Ed Sheeran).

Three Bog Night (Must have been the dodgy kebab 🥙 💩)

Sounds like the sort of thing all kids should be exposed to!

The problem for G&L is they don't have mass appeal, but they are not seen as 'boutique' and therefore don't attract premium prices.

Two flaws ... very sensitive to electrical or magnetic noise. Plus, the magnet induces magnetism in the string. The movement of the magnetised string causes electrical currents in the coil... but they will be extremely weak far from the magnet (inverse cube law) so the signal will be paltry when the magnet is away from the ends of the coil.

We love you Neepsy.

Yes that's designed so you can put splits into one, two or all threecavitiesas suits your need.

I just mean as a temporary experiment to find the best locations.

In the spirit of the original rail concept, experiment using temporary cardboard carriers to find what works for you.

Possibly... I assumed they went straight in then out again. In which case the issue would be on that early stage. A sign would be it could go away if the blend ('balance') is set to one pickup but not the other.

Oddly, I just posted how I used a GE7-B pedal in the 80s/90s to help get more output from my 150W Laney Pro-bass head.

Used to use a Boss GE7-B for such things. Was also useful to push my relatively feeble Laney Pro-Bass to greater things (along with a long gone Arion "stereo" compressor).

I've always ignored g&l for two, possibly irrational, reasons. First, the styling - logo and headstock. Second, unlike Musicman, g&l always seem like slightly upmarket Fender clones. If these are "Leo finally gets it right", why are they so conservative?