Stub Mandrel

TL:DR - I fixed up some speakers. I have two cheap Thomann Fun Generation powered 15s and a pair of Passive 12s as extensions. I've realised that a powered 15 and a powered 12 would give me more flexibility (you can work out the combos, but being able to use 2x12s as monitors while still being able to run a 12 and a 15 each side as a small PA appeals). Using a Powered 15 and a passive 12 as monitors was clumsy, the 15 is noticeably more bulky. Luckily the rear panels have identical dimensions, so it's simply a case of swapping them over and switching the spade connections to the 12 and hard-wiring the 15. ON opening up a powered 15, I noticed that the board doesn't have the built-in crossover, instead using a separate crossover like the 12, connected from the L (low) terminals. I noticed that as expected there was a red wire from + on the speaker and a black from -, but they were connected to L- and L+ instead. I was going to reverse them... until I noticed the wires to the speakon connector from the power amp were also reversed... I did a phase check against (correctly wired) extension speakers and lo and behold, it appears the power amp board is incorrectly marked. Incidentally, despite the 15 being rated at 115db and 70-18,000 Hz and the 12 114dB and 80-18,000Hz, the spate of A/B testing that this exercise brought on showed that the 15s have vastly more bottom end to my ears.

Disappointed...

Support gigs are a bit different to open mics/jam nights, which is what I was meaning.

Maybe, but it is an obvious way to differentiate an Epiphone from the original and relatively costly to implement?

I do get irritated by those who turn up and agitate to get on early then disappear as soon as they have played.

Saw them (the Andy Powell one I assume) last year at Northern Kin. It was something of a surprise to find myself watching the whole of Argus performed live, I really enjoyed it.

This thread is making me very frustrated with the gig equivalent of 'Stoptober' 😞

As a drummer, mMy amazing and totally infallible idea is a bass with a quick release neck that can be broken down for storage and transport. I mention this to bassists every time I help them carry their kit but they just look at me like I'm a total moron. 😁

Looks fair and well-organised, but 83dB? I can fart louder than that...

This one I think: https://www.aliexpress.com/item/1005006777301353.html?spm=a2g0o.productlist.main.11.651aKccqKccqGi&algo_pvid=92c38ea1-40dc-4422-84c6-3193dfffa6c9&algo_exp_id=92c38ea1-40dc-4422-84c6-3193dfffa6c9-5&pdp_npi=4%40dis!GBP!29.37!14.69!!!263.61!131.80!%4021038df617289377617943724eb902!12000038265709368!sea!UK!3066085447!X&curPageLogUid=zWcoCTf2TJab&utparam-url=scene%3Asearch|query_from%3A "Bass control plate"

They have. Low end and original Epiphones now have the 1970s Epiphone headstock, high-end versions of Gibsons have a Gibson headstock. Very popular change from the 'clipped corner' years.

It got missed that I highlighted the new Squier paranormal Troublemaker Telecaster deluxe. Actually a reissue of a Fender line. Twin humbuckers, tunomatic bridge, stop tailpiece, rear mounted dual tone and volume with top-hat knobs. Colours black or gold. Basically a Les Paul with a Tele body, neck and headstock. The 'Troublemaker' name proving they at least have a sense of humour.

😁

Even if I only get the main riff I will be happy. My slap needs to get past the obvious RHCP suspects...

Thanks to @Phil Starr for today's demo. It must have sparked a lot of interest as it seems to have triggered Blue Aran's dynamic pricing...

Currently murdering forget me nots. I need to be more familiar with the song...

Micro tilt basses are made so a degree of tilt is needed if the bridge pieces aren't to be unnaturally low (which is how I have alwaysvhad my performer). That said, you are essentially right, but lots of people would rather shim than drop the bridge pieces on other basses... Similar aim but very different execution. And a curved top surface that 'eliminates' the need for a chamfer. Alledgedly. Lots of people have copied elements of it. But some of them have people drooling over the 'new' designs. Innovation doesn't have to be epic, effective or even succesful, it just has to be new. It takes courage to launch a line of turdburst coloured instruments. They have made amps people admire to more affordable. That's new whatever your view on the execution Relicing became mainstream after Keef Richards sent back a batch of instruments because they felt too new and Fender "roughed them up". First mainstream manufacturer to do this afaik. Hooray! We agree after all! You're my pal you are! But seriously my point is Fender do introduce/mainstream new ideas, whether they are feeble or unsuccessful isn't really relevant. The reputation for no change ever is tad undeserved.

I don't want groupies. Af my age I need roadies...

Won't be skinny after that lunch... anyway those are just the legs!

Just to say, the TE 1200 through the various LFsys cabs sounded monster 👾. Thanks Stevie (whoops!)

Me too. Mrs Scrumpy insisted!

Took my 50W Joyo badass to the bass bashwith my pjb C2. Forgot how many people use gig volume at a bash! Dug out my Elf and got by. Tried a TE1200 through some of the LFSYS cabs. Very nice.

This version is more or less a three chord vamp? https://m.youtube.com/watch?v=lNOT3Qr-CXI&feature=youtu.be

The S'punkles (formerly Adam's Punk Uncles).

Oh dear, so many great basses I forgot to take pictures... Thanks to all but especially @scrumpymike and the Scrumpettes. <BURP> Like @stewblack I wish I could have arrived earlier and it could have gone on longer. Delay the raffle to 9pm I say...