Stub Mandrel

Looks a chilled place.

Most covers you pretty much have a rhythm to follow. Blues and originals, I get more opportunities to be creative. One example, I vary one shuffle based song by dropping in a triplet in a different place in the bar each verse. Was watching another band recently and their bass player did exactly the same.

He died so long ago... his influence is fading.

Goo Goo Dolts

Now that's a creative excuse 🤣

All those woke music fans cancelling Christmas this year...

I wasn't so much highlighting the importance of rhythm keeping, but thinking of the wide range of rythmic possibilities. It feels like we lack the vocabulary to discuss rhythm the same way as we do harmony.

Melt Loaf

Played the singer's local. Was a weird setup. Lead guitarist's pedalboard was very noisy Went down well, helped by various friends of the band. Manager kept videoing us and was right up vlose and trying to get us to look into the lens which was pretty distracting at times. Just rehearsals now until mid-january.

Geat Loaf (for fans of Bēowulf).

More variations than you can shake a stick at on Temu. Mine was about £19.

Cheap generic much like this: Page 2 of each short address can be used to control a fixture with a long address 8 higher than the fixture on page 1 (if they both use 8 bytes or fewer).

I figured out my PARS will be happy with 1,9,17,25 etc. But means page switching when programming them.

Not a Marleaux on the right, but I'd class it as a copy... HB Marquess.

1950s German. Under UV light.

Little and large(r).

It's a shame they don't standardise on the first five channels of every light being overall brightness/r/g/b/w.

I just always seem to have some around when doing speaker things...

I use 13A twin core mains cable.

In the past I've found it useful to play along to drum rudiments. I also trg to vary my rhythm when playing certain songs. Perhaps most of us don't think about naming rhythms or consciously learning them, perhaps shuffles and bo diddley... or just play along to different drum machine rhythms without actually breakingthem down. I was listening to 'Add to Playlist' earlier and they mentioned Samba rhythm. It made me think 'how is a samba constructed?' I found this short video interesting: Spoiler: it does not mention samba...

Thinking about it what I'm wanting* is: Some noticeable compression low down so when I dig in I can get my amp to overdrive but don't blow the roof off (see your comment above). Enough middle boost so dusty end widdles cut through. Add top end clarity to compensate for strings a tad past their best and bring out some clank if I go 'Entwhistle' or slappy. *a sub-editor who can type?

A 15 ½ hour used tobe a leap of faith, but the K1 Max is, so far, very reliable. The slicer is basically a version of Cura. These days a 'mesh' is printed to support undersurfaces. The tree supports came loose with a gentle press and the finish on the supported surfaces needs no finishing.

Funnily enough, I finally got around to playing with my spectracomp today. I saw a gig and the bass player had way more compression than I normally use and it did work. But I want enough dynamics to ride my amp's gain and get results from my autowah. The Nathan East setting is pretty good. The trapdoor one is insane, totally impractical but I'd love to wig out with it and an octaver! A lot of the funk ones felt pretty samey, although they opened up te top end well. I can't remember which I chose now, but I went for a three band with a slightly more rounded bass. I would appreciate a greater understanding of the presets and what the knob does for each one. I couldn't find the editor... To be brutal, I suspect the single knob compression on Joyo amps is at least as effective for rock. I also think I spent most of my time looking for the 'better knob' effect my TC Forcefield has and not finding it.

I am constantly grateful for a rig where I can have amp on a shoulder strap, cab in one hand and bass in the other.