Stub Mandrel

You could rephrase this thread as "is there any point buying a new bass when I could buy a better one for the same price or secondhand one for less?" Me, I'm quite happy to buy a new bass (or secondhand) if it's what I want. But I always buy secondhand cars.

Last night it was the Bendricks Rock gig at the Earl Haig. We had a good one. A venue where people know their music and expect good bands. Not quite rammed (apparentlyfor my brother's band lastweekbthey had to tske allthe rables out!... they arecrhulars though and this was our first time). Even so it was pretty full. Loads of banter, dancing and vocal appreciation. Lead guitarist switched off instead of standby on his valve amp so when he switched on for encores the fuse blew. We only realised after starting superstition so it was a bitof an improvised jam. My Joyo XVI helped thicken up the sound. We'd forgotten a vocal monitor so the rhythm guitarist's spare, a snall peavey, was used. We pressed it into service for our final song. As well as very happy punters and venue, we got some nice comments from a fellow bassist as well as a couple of local guitar legends. We left very happy that the recent sequence of gigs has done a lot to establish a fan base for us.

Lined up for this year: Walter Trout Hawkwind [twice] Alice Cooper Alice Cooper + Judas Priest + Phil Campbell and the Bastard Sons Phil Campbell and the Bastard Sons Simply Red The Achievers Plus lots of local bands

Have they added a pig? 🤣 Whoops no they haven't!

Well, I'm inspired to wear this t-shirt fr tonight's gig.

GP11 schematic here. Fixed mine using it. trace-elliot_GP11-AH350-AH500-MK-V-BASS.pdf

Possibly one of the transistors early in the preamp has gone noisy/leaky. Some need to be replaced as pairs. A tech should be able to sort it.

So the basic question (asked over and again) is what pickup will give me the authentic early 60s p-bass sound without having to use an accurate reissue of an early 60s p-bass pickup? Sub-topic: ideally with the same tone but more output so I don't have to strain myself by turning up the gain as far. <just joshing 😁>

Now Trumpmonkey Musk gas his aim swuarely on the judiciary while Trump himself uses obvious coercion to bring legal firms onto his agenda. I am stunned that the disintegration of a proud, if hubristic, democracy can be so fast.

Bass does seem to have more appeal to men, but there don't seem to be major barriers to talented women players getting ahead.

Nostalgia isn't what it used to be.

Just did an experiment. I get a usable sustain of over 10 seconds from my Harley Benton kit bass with a cheap as chips BBOT bridge, maple Squier neck and a body so light and soft you can almost dent it with your fingernail. Even Boys of Summer needs less than six seconds.

Surely the psu is connected to the case of the synth via a continuous chain through circuit ground to the jack sockets to the case...?

I'm not arguing for the sake of it... I am genuinely trying to help. Having had a few close calls I sympathise. My point is don't assume a low voltage supply is safe and isolated from the mains just because it is supposed to be. They can and do fail from time to time. You can't stop leakage by doubting it (and yes I have had a belt due to things like carbon tracking on a pcb allowing mains to trickle into the low voltage side... as it's "completely isolated" this doesn't trip the board...) The phase issue sometimes occurs in large buildings where a three phase 440V supply is split to power more than one 240V ring main. It's rare, but if happens. If two items are powered from different phases you can get high differential voltages between them in the case of a fault. Very low levels of leakage can build up enough charge to give you a belt without necessarily tripping an rcd. This seems to be what has happened here, suspect everything until the cause is found. Also it may be the combination of different things that combine to make the problem. Final thought... is there anything else that could have charged you up so the jack just provided a route to earth? Were you holding a bass or other instrument? I'll shut up now, after saying "don't assume anything is safe as there's a fault somewhere".

Bendricks Rock have a gig at the Earl Haig on Saturday. I've played there a lot with Bluesfire and on jam nights. It's in the bar, not on the big stage, but a lot of people consider it one of their favourite places to play because of the atmosphere. Lots of regulars in a smaller space. Hopefully we match our last two gigs.

For me, at least, there is something special in a connection with the past through artefacts. If the object can still be used for its original purpose, or even repurposed, all the better.

Tbh I can't tell on my phone.

It's real... put it back! I learned something today!

https://amateurphotographer.com/second-hand/vintage-digital-cameras-you-should-actually-buy/

There's a lot of interest in old tech.

Odd it refusing to embed properly.

This looks suspiciously like a Jazz with a BBOT bridge?

The Shure SM58, introduced in 1966, has undergone numerous changes and improvements throughout the years, primarily driven by advancements in manufacturing and the need for greater consistency and durability, while retaining its core design and sound. Here's a breakdown of key changes and improvements: Component Updates: Shure historian Michael Pettersen estimates that the SM58 has gone through anywhere from 40-50 changes in components, mainly due to the microphone outliving its suppliers and the need for longevity. Impedance: The original SM58 had dual low-impedance ratings (150 ohm and 50 ohm) to cater to broadcast standards, but Shure now uses a single 150-ohm impedance. Production Processes: The SM58 has benefited from more precise tooling, new materials, and better production processes, resulting in greater consistency and increased durability. Rigorous Testing: Every SM58 undergoes rigorous testing to meet all specifications before leaving the factory, ensuring consistent quality and reliability. Wireless Systems: Shure has also developed wireless SM58 systems, allowing artists more freedom and flexibility on stage. SM58 LC: The SM58 LC (formerly SM58 LCE) is a version without a switch, emphasizing robust simplicity and is common for pro-level microphones designed for the stage. Grille Design: The grille is designed to dent when dropped, absorbing energy like a crumple zone on a car body. Unidyne III Element: The SM58 is based on the Unidyne III microphone element developed in the late 1950s by Shure engineer Ernie Seeler. Military Specifications: Shure adheres to rigid military specifications, ensuring the toughness and reliability of the SM58. Adaptability: The SM58 has been embraced by various musical genres, from rock and pop to hip-hop and beatboxing.

An interesting discussion of a similar problem here: https://www.diystompboxes.com/smfforum/index.php?topic=118696.0 Another possibility is that the PSU was plugged into a different phase than the mixer. Unlikely in a properly wired studio, but possible.