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I'm going to say bridge height.

You place it over the bridge of your nose to give the impression a solid piece has embedded itself in you. You will also require tomato sauce.

Its been a while since I posted here do im due an update. StingRay. My main bass. Fender Squier. My practice & back up. Aria Pro2 SB600 fretless. Sterling by Music Man Sub Series. Peavey Milestone 3. Ashbory.

A quick bit of background info, in one of my bands I solely play doublebass bass. At rehearsals I sometimes just bring a standard electric bass just for ease. Turns out some stuff we do works better with an electric bass and I'm considering doubling on gigs. It'll be a bit of a pain on small stages so I want short scale and light to ease grabbing quickly. I've got some shortscale I can use but this 23" Ashdown has grabbed my eye. Nice looking, I briefly had a Saint bass which was fine, standard pickups to swap if needed, a green one which is our band colour, and only £200. But I really like heavy strings, I just don't get on with low tension strings, especially not for the style of stuff I will be playing in this band, lots of percussive stuff. My question is, can a 23" scale bass have higher tension strings or will that short a scale and the low frequency always mean floppy strings? https://ashdownmusic.com/products/roasted-capri-23

A test piece to check that your Stanley knife can still cut cardboard..?

I've been looking through the lists of Hofner players people have shared on here, and there's something that I think is worth saying. I'm not sure if I know how to say it though. TLDR: I think it's entirely possible for lots of popular people to have played a company's instruments over the years without the company itself ever having been popular. To elaborate, like all human-made things, basses are imbued with a certain aesthetic and cultural value by the context in which they're made, the market they're made for and the times they are made in. The Hofners of the 1960s were the work of a company playing catch-up. Hofner were a maker of traditional musical instruments trying to respond to public demand for modern electric basses and guitars. They knew the old world far better than the new one, and so their designs were a curious compromise between traditional instrument aesthetics and the Cadillac gloss of contemporary Fenders. To the aspiring rock stars of the time, therefore, Hofner – and other similarly positioned makers like Framus and Harmony – were always a bit lame and old fashioned. My dad, I think, is pretty typical for the era – he started playing around 1970 on a Framus Star Bass that he couldn't stand. He hated the way it looked, the way it sounded, the crappy bridge he could never get to intonate correctly, the sky-high action and the cramped broomstick of a neck. As soon as he'd saved up enough money, he went out and bought a second-hand Gibson EB-3 (sadly passing over a late 1960s Jazz in the process ...sigh). Thing is, instruments don't spoil like milk. They stick around, and as they age and the cultural context around them changes, they start to acquire different connotations, to be imbued with diffent values by the people who play them. An instrument like a Hofner Club Bass would have been far from cool when it was new, but by the late 1970s, when Tina Weymouth picked one up, it's very uncoolth had made it into something quirky and interesting – an outsider's instrument for an oddball band. I believe the vast majority of Hofner players (Sir Paul excepted) that have been mentioned in this thread didn't start playing those instruments until they were already old and discontinued (or at least the designs were old and unfashionable). Playing a Hofner has often been a kind of contrarian statement, a way to look different and to imply a degree of nonchalance about one's craft – playing an old, cheap instrument as a way to suggest a degree of arty unprofessionalism (putting yourself far distant from Stanley Clarke and his Alembic). If Hofner tried ramping up production in response to one of these high profile players, the cool factor would vanish. Those instruments were only cool so long as they were uncommon and forgotten. The moment someone starts actively marketing them to the cool kids, they would immediately become uncool again. Hofners were popular, but I don't think Hofner themselves ever really were.

She was a Gibson gal in many respects. LPB, EB-2, Ripper...planty of evidence online. In all fairness, she always did maintain that her '57 P-Bass was her main recording instrument.

There's no advantage to that over a 410, as it's essentially the same thing. In fact the increased spacing is worse. If you must do it, though I can't imagine why, the bottom cab should be flipped upside down, placing the woofers closer together, but only if the tweeters are not used. If they are used the top cab should be flipped, placing the tweeters closer together.

Well I found both to be a warm vintagey sound, but with the TH able to add in drive as required. Other than that the main difference I’d say were the highs, with the TH being at a much better eq point than the LM - this could be why your bass sounded so different.

Did she? I've seen here with little else than Fenders (mainly J but the odd P).

I haven't got any answer to your question, so please bear with me. I'm just curious whether you played the TH with AGS on or off. As far as I understand, the preamp of TH is super clean, so it's the AGS function which makes it sound warm. I've got a Tone Hammer preamp v1, and the AGS is always on with gain set somewhere before it gets some grit. You've probably already seen this one, but if not, it might be helpful. Or not.

I’ve had a reliced Sandberg and I would say that is absolutely not part of their aging process. Proving it is another matter of course. What’s the actual finish? You may be able to buff the worst of it out.

Does it make a Bass IV good for metal?

A height gauge for mice?

Left my choice of best bit of bass gear to something quite late in the day! I've been on the hunt for a one-stop multifx that could take the place of my pedal board for a monthly pub residency that's I need to get to via public transport. I wanted something that was a step up from my trusty little Zoom B1-4, but wouldn't break the bank and was decently portable. I've spent a few months pondering alternatives - there's a lot of excellent and often really well priced multi-fx's on the market! I came close to getting one a few others, but none seemed to cut it for one reason or another. Slightly out the blue I was recently offered a used Boss GX10 from a fellow BC'er, which is a more budget version of the Boss GT1000 Core which I have on my board and I'm a big fan of. Whilst less powerful in terms of processing power than the Core, it does have a few features that make it great to use that the Core (or indeed the ubiquitous Helix Stomp) lacks e.g. colour touch-screen, built in sturdy expression pedal that can be easily assigned to patch parameters e.g. to boost volume or change the tremolo rate. It's a big step up from my old Zoom B1-4 and seems to tick a sweet spot for me. Although I bought it as "travel" multi-fx with the intention of using my main board for most gigs, the GX10 has really got me thinking whether it could actually become my main board by itself?

Indeed, but I don't think we've had 'The Sinks'

We must have had 'The Kinky' by now