flyfisher

http://basschat.co.uk/topic/192043-sr500-strap-hole-how-to-fix/page__p__1871270__hl__dowel__fromsearch__1#entry1871270

[quote name='untune' timestamp='1353419866' post='1874756'] What's the best option - a multicore cable from the get go or lots of individual ones then just whack some heat shrink round them all? [/quote] I'd say it depends on the length of the loom. A metre or two and you could probably get away with the heatshrink option, but for anything else then I reckon multicore is the way to go.

Yes, you've got it. Where are you fixing the new rear socket? While I understand the good reasons for wanting to do this, I think I'd try for something a little less invasive. You've got a nice unit there and it would be a shame to devalue it by messing around inside it. As previously mentioned, a right-angled jack in the front socket would be very unobtrusive and if you used a short patch lead together with a jack-to-jack adapter at the rear then there would be no soldering involved either. Just an idea though. It's your gear and what you're proposing will work perfectly well.

I'd caution about using paper to keep the jack socket contacts open. Functionally, it will work fine, but I'd be concerned about the paper becoming dislodged at some time due to vibration etc. Murphy's Law will ensure this happens mid-song in a live gig. Paper may also interfere with the socket's normal operation if you ever want to use the front socket as normal. Just a thought.

Isn't this all getting a bit silly now? It's just a song, and a pretty decent one at that judging by it's popularity with the listening public.

The difficulty with matchsticks is packing them tightly into the hole. Cocktail sticks are strong enough to withstand being tapped into a hole with a light hammer whereas a matchstick will 'fold up'. The other thing to consider is the size of the screw. There is a lot of leverage involved and the slightest movement will cause the hole to be enlarged. There is usually plenty of depth available for such fixings (in solid-body instruments anyway) so why not use it? A 50mm screw (for example) is not going to be pulled out very easily!

Fair point!

I absolutely agree, but there are plenty of other corporations that would like to see it go and are happy to kick it when it's down.

Has anyone with insurance ever had to make a claim? I'd be interested to hear the details of the incident. Also, has anyone without insurance ever had to an incident that they had to pay out of their own pockets?

[quote name='steve-bbb' timestamp='1353052489' post='1870889'] could work either way though i guess!! the band could threaten the audience to play certain songs unless the bucket fills up quicker [/quote] Interesting idea, but it probably wouldn't work with Mustang Sally as the audience would love it. So what songs do we think an audience would pay us NOT to play?

Yep, Auntie is 90 today, though given the current mess she's in, I wonder if she'll make 100?

Definitive answer from BRX. DIY shops sell dowel kits, with the correct size drill and a pack of pre-grooved dowels. They contain far more than you'd need but they're cheap enough and you'll be equipped for a lifetime of instrument repairs!

I didn't really get on with 'Can't You Hear The Thunder', but that's not surprising because I don't really like jazz, so l can only assume that the other three tunes weren't jazz because I really enjoyed them. In fact, I'm listening to Low Men Dancing (for the third time) as I write this. Dammit.

Was the audio recorded by just using the camcorder mic? Pretty amazing sound if it was.

[quote name='thumperbob 2002' timestamp='1352985536' post='1870135'] Dismissing a song is not really down to musical snobbery at all- I just think that to be a successful cover band you have to be different and [b]have your own niche[/b]- and that may not include easy songs that any band could do in their sleep ( however popular ) [/quote] So there must be a niche for bands that play Mustang Sally then?

Why close to the bone? What's more enjoyable at a gig - an audience dancing around and singing along or sitting completely still in their chairs? To paraphrase Ecclesiastes 3:2, a time for unabashed entertainment and a time for jazz.

I guess it all comes down to whether we want to play to please ourselves or to entertain the audience. Of course, we'd like to do both and I'd say Mustang Sally (et al) can be part of that mix. Some songs you win, some you lose, but it's the overall gig that counts in the end. Seems to me that our good Dr Dave has the entertainment thing all wrapped up! And since no one esle has posted examples, I'll offer this (as half the BC audience heads for the exits . . . . ) http://www.youtube.com/watch?v=h8M_3JTwtPg

One of the bands I play in has been invited to support Neville Staple (ex-Specials) next week. This is a huge leap up for us and I'm pretty nervous about it to be honest. Not nervous about playing, more that we won't be good enough. Thing is, we've got a couple of ska-ish songs and one of the guitarists also plays trombone on a few songs (all originals), all of which is good fun normally but put us alongside a real band and . . . . ? Well, I guess I'll find out next week. Oh, it's at Hertford Corn Exchange on Friday 23rd Nov if anyone is mad enough to be interested (PM me for cheap tickets if you are).

I agree with Sting as well, but what's the point of such a rant? The X-factor spokesman is correct - it's just an opinion. Now, if he had suggested a better alternative . . .

Sigh. I suppose there [u]is[/u] such a thing as an appropriate bass solo out there somewhere. Isn't there? Even ignoring the whole slapfest thing, that solo just brought the whole song to a grinding halt.

[quote name='Doddy' timestamp='1352776982' post='1867351'] Honestly,I don't think that Berry Gordy is the polar opposite of Cowell. There were some great Motown songs,as we all know,but there are a hell of a lot of songs (possibly the majority?) that are just as dodgy as the music that Cowell puts out. Gordy was about making money-that's why he started using some of the hit songs again with other artists and eventually moved Motown to LA. [/quote] Absolutely. Motown was as much a 'music factory' as Stock, Aitken & Waterman or the Cowell machine. Money was/is the prime concern. T'was ever thus, t'will ever be.

Actually, OGWT could be a more frustrating programme than X-factor in my experience. At least with X-factor I know I won't like any of it so I don't waste any of my time watching it. OGWT, on the other hand, was such an eclectic mix that it was a 'must watch' for all the gems I knew it would contain, although it meant I also had to sit through some complete dross (IMHO of course) as well. And no VCRs back then for fast-forwarding through the dross! That's not to say I wouldn't like to see it return though!

In a parallel universe, on the GuitarChat forum, there's a thread titled 'Bassists are dorks' in which a guitarist is moaning about a new bassist having just joined the band and is moaning about keys before he's even played a note . . . .

What's all this 'good stuff' and 'bad stuff'? There is no 'good' stuff, or 'bad' stuff, only stuff you like or dislike. There's certainly 'popular' stuff, which can be defined by measurement, but it's an unreliable guide to whether you'll actually like it or not. Just enjoy the stuff you do like and all will be well with your world.