Stub Mandrel

Cut out of leather from an old sofa, kept in place with double sided tape.

I wasn't suggesting it was you who hit it!

I was totally underwhelmed by the main set, just the usual thin droning sound with lacklustre vocals. Then the encore came and they did all their cheerful, bouncy stuff and it was very good.

I couldn't understand why a mancunian was putting on such an awful Liverpudlian accent?

Not if you give us one!

🤣 Oh deart, but it looks like someone's 'it it wiv an 'ammer!

Until the second encore (which has just started) I thought they had overdosed on mogadon... if ever there was a band in desperate need of a fuzzbox!

Watching the Cure live now. Entire band having another bad hair day decade.

Call me an old fart if you will, but the Chemical Brothers set is awesome... Then Liam Gallagher with some confused person in the audience holding up a sign "WE ♥️ YOU NOEL"

I've had another idea, but I think it's too pervy to post...

I've always had a selection of pedals, but they seem to have bred recently. It's probably just GAS - anyway my board is full now. The one thing I might do is upgrade the nasty cheap wah I've got, although it works fine as a 'tone control'

You could get a shark-skin strap - might get a bit bloody if you play shirtless...

I agree that preferences in bridge designs are very personal. I like the headless Steinberger ones best, there is an allen screw to lock them solid.

A Dwarf appears and throws an axe at you.

I agree that if you change string height, you need to check and may have to adjust intonation, but not the other way around. When I set up I like to set string height then adjust intonation. With your arrangement won't adjusting intonation also affect string height, so you then have to repeat the process a few times to get it dialled? With an engineering eye I would prefer a mechanism where the two movements are independent.

Ah. I didn't understand it properly. It's a aggressive fuzz with the option to add in the octave up. I thought it switched between up and down. I thought the Ashdown sounded 'Royal Bloody' when played around the 15th fret. So... I can't get deep subharmonics with this, shame but it DOES get the Roger Glover crunchy sound I was looking for.

Or even ZZX?

Why pick on the Killers? There are zillions of bands who have had more drastic lineup changes. No different to Black Sabbath with Ronnie James Dio and Carmine Appice, if you are still playing the same music. Would anyone other than the most committed Ozzy dieghard have said that wasn't Black Sabbath back in the mid 80s? I'd agree if the music had changed significantly, like later versions of Sabbath that were intended to be Iommi solo projects. The difference here is they have left the door open for people to return.

I think I would have found plenty to enjoy - Stormzy sounds like he gave one of those gigs that you wish you were at whether or not you are deeply into the music. Dig deep into the list and there are some gems. Hawkwind headlined the Acoustic stage on saturday. Bootleg Beatles there today (not yesterday...) Steeleye Span, Fatboy Slim, Billy Bragg, Proclaimers, Chemical Brothers Even Bring Me the Horizon as a guilty pleasure (my daughter was into them as a yopung teenager...) But 100 stages? And other festivals across the UK. Fifteen years ago people said the internet was going to kill live music.

Bloody hell! Someone who looks like their avatar!

I've been trying out a Joyo Voodoo Octave. It certainly gives me the great thick fuzzy sound I want for Space Truckin' - mainr eason for getting one. I don't seem to be able to get the 'chorus-like/Royal Blood' sort of sound the sub control on an Ashdown head gives. Any advice of getting that sort of sound? Also, where in the effects chain is the best place for one of these?* * and why do bass players need more effects than guitarists? 🙂

Aren't you going to be chasing your tail a bit as changing the intonation will change the action, and vice-versa?

"Don't be vogue, ask for Moog".

Typical scot! Won't even pay for a dog to hunt me down properly >ducks<

This thread is an interesting read. One of the hardest things to get is an honest, objective critique of your playing style. When i meet other bass players they tend to be awfully polite - I wish they would say 'have you tried' or 'your behind the beat'. I went to a teacher looking for 'refreshing' my playing. He barely asked me to play anything then shot into long exercises playing different modes along single strings. He seemed to want to turn me in to a jazz improviser. I wanted someone to spot my weak points and also help me get to grips with 5-string (where its across the neck that you really want to develop). Two (of many) things that have helped me... right at the beginning in my first band we did a few songs with syncopated bass lines and the guys really helped me to get the rhythms right. Second, one of my brothers watched the recording of my recent (and first for~ 23 years) gig and took it apart song by song - in the nicest possible way. With fresh eyes it was easy to see how we started off pretty loose then after a couple of songs 'clicked' into the groove and our timing got much better. There was the one where the guitarist and I were locked together but I'd got fractionally ahead of the drums. Another where the hi-hat pattern went wrong so what I normally play wasn't quite working. Silly things like me standing in the wrong place and my awful microphone technique for backing vocals - moving my head close in at last minute and pulling away too early - the only one that worked well was ironically when I was right back from the mike because I was unsure of myself and the sound engineer had bumped me up! Some good things - where I got lost, went to root notes for a verse and then slipped back in. Obviously the view we had wasn't really going to help with wrist position etc. but I'd love to get my technique dissected in the same way. the lesson I REALLY want is the one that helps me remember the structure of complicated songs quickly and easily!