fretmeister

If it's a boss or similar the velcro will not stick to the rubber base for long. On older Boss pedals with thin rubber they can be turned upside down so the velcro can go on the metal directly. On newer ones the rubber is too thick. But you can get blank metal replacements for about £7 and keep the originals safe for re-sale.

They are not that thick. Re-carving to be flatter would mean making the centre of it really thin, possibly to the point of it breaking down the centre. The more I look at it, the more it looks like a 7.25 inch radius board (as per old Fenders) that has just been cut with an extension / extra length. I don't see why it would be a waste. There are other extra long 'board basses out there. The Ibanez Portamento and the Zon Hyperbass just as 2 examples at opposite ends of the money spectrum.

The radius isn't nearly small enough to be from a DB. I quite like it.

Boss LS-2 will let you have a clean blend with everything and set the levels. It's one of those really boring but amazing problem solving pedals.

Or get a bass with 2 outputs or use a splitter box and do the Entwhistle / Sheehan / Wolfenwotsit split rig thing.

Not much if anything. I've seen so many bands use instruments that were "wrong" for the genre that I decided long ago that it doesn't matter. Then I decided that the looks of the bass are unimportant or at least no higher than dead last on the list of priorities. Balance / weight / sound etc are all far more important.

I'm quite tempted by an ABM now as I've got a bunch of outdoor zero PA gigs coming up from the end of June and through the summer. All jazz big band stuff. Loads of brass and reeds. Just amps for the bass and the electric piano. Decisions, decisions!

Realities must be considered. Would you actually sue if he still used the name? Would you spend that money? If not, then there’s not a lot of point in trying to protect it. Ultimately it’s a cover band and the questions of actual IP ownership would be very convoluted.

I think the point is - if the PA is adequate for the room then nothing on stage should affect the FOH at all. I know quiet stages can be a bit "what's the point of rock n roll" but what is more important at a gig? The raging JCM800, or that the audience gets a great show and the venue invites the band back again?

I don't think I have a favourite type of music. And to make matters more complicated, the stuff I listen too isn't usually the stuff I want to play.

If you can do it in a little Zoom pedal then I'm going to buy one! I can do it in the Helix and there's even a bit of an attempt at a factory preset for it, but the switching is the thing - turning on and off the octaves and the 5ths for the pseudo guitar chords. Only 1 footswitch on the tiny zoom thingys.

Sounds like a Synth to me. It's definitely not Gene's original bass line!

Depends on the monitoring situation. With the right monitors I'm happy with a compressor and a Sansamp / modeller. I think another factor is whether the bassist is active on stage or just stands in front of the amp. If you stand by the amp all night then I can understand wanting exactly the right thing even though the audience and the rest of the band won't notice or care. But if the bassist is moving all over the stage then the sound from the cab changes with every step from it and they'll be listening to the monitors more than the cab anyway.