tauzero

I've just checked, plucking the strings at the midpoint of the speaking length (so plucking at 24th fret when fretting E string at 12, 19th fret when fretting A string at 7, 14th fret when fretting D string at 2) and the E string is more bassy, the D string the most trebly. Admittedly I haven't moved the pickups around, I suppose I should try it with a piezo bridge bass.

"We can lose an elephant and break an anvil".

Surely the sweary filter is set up wrong? After all, Johnny said " I hope all your doughnuts turn out like Phanny's" so it should be changed to doughnut, not craddock.

If I play the same note on three different strings - say a B on the B, E, and A strings - the sound is, for want of an objective term, thicker and fatter on the lowest string and gets thinner and more trebley on the thinner strings. Are you saying that I'm breaking the laws of physics?

If the G30 is like the G50, there are two power modes on the transmitter - my G50 has been somewhat unreliable at any distance but I've realised it was on the low power setting. I have yet to try it at the high power setting. I've got a Smooth Hound which has proven reliable wandering round the average pub.

Just hang a banner straight across the stage from each of the speakers. Go for the air of mystery.

The break angle is the same on all the strings. With the strings anchored right by the nut, they're held firmly onto the nut. When you add to that the lighter weight, better balance, and better looks of headless instruments, it's difficult to understand why people persist with heavy, neck-diving instruments with ugly headstocks... 😁😁😁

I played there last October with the originals band. It isn't as if we have that many gigs, but I have no memory whatsoever of it, and I generally manage to remember something.

It's rather unlike me, but it's the more mundane of the Atlantsias that appeal to me more. If the photos were a decent size and the website wasn't so Geocities, I might have a different opinion.

I had a fretless 4 about 15 years ago. Lovely bass, great neck, but I was used to heavier basses (Hayman, Fender, and Warwick) and I found the incredible light weight rather unsettling. Now, old and feeble as I am, I'd find it rather attractive.

I think I've got 14ish natural basses and no painted ones - the three Seis are lacquered though. Apart from liking the look, an unlacquered natural bass doesn't show the minor knocks that knock chips off painted basses. I sold an immaculate black Hohner B2AV and replaced it with a natural one because I knew it would get chipped eventually.

They're slap plates. They are brass, set into the fingerboard, with a microphone set under them which picks up the percussive sound from them and adds it to the pickup output. I think the mini toggle switch turned that on and off. Only really useful for those weirdoes that play slap.

No. But I never said it was. And indeed, that's not what the topic is about, nor what I was replying to - MoJo said "it's hard to hate a Precision", and I was citing a Precision that I found it remarkably easy to hate. I will freely admit that I didn't own it though. And on the whole I don't hate Precisions, I just consider them as the grey porridge of the bass world, the equivalent of the BSA C11 in the 1940s in motorcycling terms.

You are somewhere that you don't need to explain a sudden desire to possess something which will be of no practical use whatsoever, simply because you are attracted to it. I'd rather like one, and a Trace ELF, despite having an Ashdown MiBass and a MarkBass 250 as backup amps already.

It looks like a Fender and a Cort have mated, and then disowned their offspring.

I saw that earlier this evening and wondered if it was my old one - it had originally been lacquered but the lacquer was dreadfully cracked and I stripped it off, but I didn't make a terribly good job of finishing it. Chopped it in at Musical Exchange (for any familiar with Birmingham last millennium), can't remember what for. If it is my old one, the body's been cleaned up and properly treated. Oh yes, and the body is inconveniently wide so it's hard to find a gig bag or case to fit it.

The video quality is too poor to tell. In the still photo, I'm not sure if there are artefacts because it's not great quality, but it looks like there are faint lines from a defret where the filler material was the same colour as the fretboard. Most noticeable above the 12th fret between the E and A strings.

And another one: https://www.ebay.co.uk/itm/BASS-COLLECTION-BY-SGC-NANYO-5-STRING-ACTIVE-JAZZ-BASS-FROM-LATE-80s/254127243521

I'm very slightly annoyed with myself because I took a couple of basses to Jon Shuker to have some work on them, picked them up a month or two later, and never took the opportunity to ask to have a play on one of his creations. The Uberhorns look lovely but I don't know what the necks are like.

I hated one. I hated it so much I didn't even try to play it. I was in the recording studio at Robannas in Birmingham. It was a session for the club band I was in, and I was going to record the bass in the control room. This is a very electronically lively place, and my active bass was picking up all sorts of shyte. The recording engineer pointed at a P bass in the corner and said "you could use that". No I bloody couldn't, the strings were about 15mm off the fretboard at the 12th fret. Happily, I had my passive Peavey with me, and it coped with the noise.

Glam, prog, early metal, melodic rock. Artist-wise - T Rex, Alice Cooper, Focus, Yes, Genesis, Meat Loaf, Deep Purple, Pink Floyd, Dire Straits, REO Speedwagon, to give some examples.

In our previous drummer's case - throw all your toys out of the pram at the start of a rehearsal due to some imagined slight, pack up, storm out, leaving the band drummerless four days before their next gig (our slide guitarist volunteered to play drums and is now our official drummer).

It seems ridiculously optimistic to think that the human race will last longer than a few decades. It's all very clever but seems fairly pointless. If the desire is to have something that future archaeologists can dig up and play, there's the issue that they won't know how to. If it's to have something stored for near-future use, multiple hard drives in RAID arrays in multiple locations will provide security, with the hard drives being swapped out for replacements as they fail, and for whatever the next form of storage will be after that. The biggest issue is hardware becoming obsolete without the contents of media for that hardware being transferred (like old VHS videos, or before that, the Project Doomsday laserdiscs), or software being lost - for example, years ago I had a digital camera which used a proprietary format for images, which I can no longer see because the company has gone titsup and I haven't got a copy of the viewer software.

Does the routing under the scratch plate expose enough of each of the three butcher-block parts to make an informed decision? Alternatively you could just go for it and if it would be rubbish with oil/wax, go for shabby chic. Apparently it's all the rage.

I've got an Ashbory and a Kala (Thomann were flogging them off cheap). Haven't gigged the Kala but I have gigged the Ashbory on numerous occasions at ceilidhs. It has the silicone strings on which I've never had a problem with. Once they've settled, they stay in tune pretty well - I did check them a couple of times at each gig but only a little more frequently than normal basses. Those HBs look pretty good and my experience of HB instruments has been good. The only caveat I'd sound is that being acoustic-bodied, they will be more susceptible to feedback than solid-bodies. I don't know how much of a problem that is, though, and it's going to vary by what environment it's used in.