Stub Mandrel

I've never had any problems with sheet cut to size at B&Q. First half dozen or so cuts are free rest about 50p each?

I got an SM57 off Temu for £8.50 🤣 just to see what you get. Arrived yesterday. Looks right, but no Shure branding. Clearly less well made than a real one, but does appear to have rubber suspension (a bit firmer than the real one). Awful clip, decent bag. A xlr to unbalanced jack lead that looks like it's 1970s. The connector was wired unbalanced, so corrected that and it works. I have a big collection of cheap & mid price microphones. I'm thinking of a way to test them, and bexdure which are worth keeping. Possibly a cheap spectrum analyser and put them in front of a white noise source as a rough and ready approach. Would be fun to do a Microphone Shootout.

This is true. It's impossible to get low volumes with my Terror 500W and 103db sensitivity GRBASS cab. You can't set the master below 'too loud for home noodling'.

The SLP is 2 x EL34 rated about 50W total. The AC30 is 4 x EL84 rated between 48 and 68W total. Neither is anywhere near 100W. 😁

I am tempted. A 12:00 start means leaving at 9....

Lol! We did try and warn you 😂😂😂

Guitarist magazine did a shootout. I struggled to find the original but found a summary of the results: Marshall 100 watt 1959 SLP full stack (reissue, 60's spec) Vox AC30 (current, it looked like the fawn colored handwired version) Fender Hot Rod Deluxe with factory standard appointments The readings were from low to high for the three contenders, 119.5 db, 124.1 db and 124.6 db.

The AC 30 is rated 30W at just before onset of clipping. The comparable Marshall 100W amps, rated flat out, are not quite as loud. There's a well-known video out there that proves it.

Let him do three but tell him everyone else needs a turn before he can go again.

No-one has ever told me to play a precision. I wanted one for decades, as I learned the basics on one. I finally got a precision and the penny dropped that my fretless that I've had since the late 80s is one.

Or 10%. Historically, Marshall used 'flat out overdriven' for their valve amps.

Mine wasn't... until I fitted a piezo and preamp.

15 passive, 4 active. I have an unused active preamp in a box. Is that useful information? I suspect not, given most voices here are active fans. Edit: Whoops... forgot the acoustic.

Everything Leo did was a response to what he felt bassists wanted (i.e. would buy) he wasn't a bass player so didn't gave a personal perspective to impose 😁

One band the vocalist (who has a huge complex pa) is paranoid about drum spill and says the sm58 isn't directional enough to set a noise gate low enough. But he'll provide a supercardiod in future. Other band, main vocalist uses a Senheisser but the rest of uscare fine with SM58s. I suspect their reputation is somewhat soiled by poor copies.

On the battery hatch for my sire, I removed it, screwed the screws back in, flush. Then I drilled out the holes in the hatch a little and superglued in small magnets.

I still feel guilty about getting a Thunder 1 at a knockout price from @stewblack. I see them being advertised (not sure about sold) for twice the price or more. But as I'm congeitally incapable if selling a bass...

Steel case. The obvious solution is two strips with big neodymium magnets set in them.

In theory, you could wire one up to a dsp and Toneprint and have a control with multiple detents to give you a whole set worth of sounds.

Is it a courgette?

I didn’t want to share names... Drummer asks to confirm what song he should be learning, then asks for a link to the correct version.

Snippet from our band chat. 'nuff said?

The art of depping is to learn the songs, but be able to deal with key changes or structure differences on the hoof. The first takes discipline, the second is a skill best developed by joining in at jam sessions.

If you can dep, you know how to prep!

Works for me... I hate the feel of flats, so I rarely play them, and they last ages! 😁