tauzero

A fretless 5 would be nice.

At Friday night's gig, the bass was run through the PA as well as backline. The sound guy said that it was too bassy, so I backed off the bass quite a bit (it was already backed off). The sound wasn't to my liking, rather harsh and lacking in bass, but it went down well. So I would say that good tone is subjective.

I hadn't realised that there were bolt-on Grinds when I had my neck-throughs - I think you may have mentioned this before. I had a 5 and a 6, both with that scoop, and another which was either a Zephyr or a C5 (or possibly both, I can't remember the exact naming convention).

No, I haven't watched any. Fair enough, that's good to know.

I used to be in a club band where the singer would ask if there were any requests, much to the despair of the rest of us. He would also ask if anyone wanted to have a sing, causing additional despair. And we had to be pretty alert when playing, because he was liable to rearrange a song on the fly, or randomly come in after seven bars on what should have been a 12 bar solo.

Sei Flamboyant 5-string headless unlined fretless.

The originals band is intended to perform the BL's songs live, while he records them solo and gets a production job done on them. Last night's gig was to promote his first single. We were at The Yard, Coventry's premier LGBTQ+ venue (according to their website). The drummer is also a sound engineer and had just taken delivery of 90% of his PA system, the FOH tops and subs being the missing components, so I brought my Alto TS408s and we used those for monitors and his DB Technology wedges for FOH. All set up and ready to go with Robert having a little tinkle. I was playing a Sei Original 5-string fretless through a Zoom MS-60B into a Tecamp Puma 900 and GR Bass AT212 cab, footwear was a pair of unbranded slip-on memory foam trainers, Ebay item 185202385506. I made a couple of cockups but it all went well, we got a very good reception.

Coventry? The originals band I'm in has been using Black Rose Studios which is reasonable.

Hysteria by Muse is an example. I've never tried playing it myself, just happen to know it uses open strings to get the speed. You can see a tab at https://tabs.ultimate-guitar.com/tab/muse/hysteria-bass-96516

I first met him when I was rehearsing in his rehearsal studio somewhere in the middle of a field with a dead Scirocco parked outside.

Used them for pretty much all my CPUs and motherboards. I'm another one who hadn't realised that they did musical instruments, though the range doesn't particularly appeal to me.

Why on earth would you do that and not 4th on B to 6th on A?

In my case, it was "Whole lotta Rosie" - the main riff was a pig to play on a standard tuned 5 string when the band was playing in Eb tuning so I put a capo on 4. They've gone back to standard tuning for it so the capo is back in the bag. It would also be relevant if there were particular harmonics to be played.

I play a 5-string, so that's what I'd use (in BEADG tuning). If there was some reliance on open strings when in Eb, I'd put a capo on the 4th fret.

How many lower echelon female bassists get overlooked in favour of males with the same (or possibly a bit less) ability? I personally can't assess how much bias there is for or against female musicians generally - I've tried some recruiting for rock covers bands, for drummers and guitarists, and as I've never had a female applicant it's difficult to assess what proportion of musicians one should expect in bands if there was no bias. With vocalists it's more complex - though this is the mirror image of the situation, I remember one guitarist who turned us down after making first contact because we were a female fronted rock band and apparently women can't sing rock. I assume that any band that he put together would operate on the same principle.

PSU -> bridge rectifier -> step-down DC-DC converter -> Raspberry Pi -> DAC -> jack sockets/case I did continuity checking between all the pins on the PSU and both 9V and 0V on the power connector, and all were open circuit.

Despite what people may think, I'm not arguing for the sake of it either. I want to find out what the problem is because I don't want a repeat, but there seems to be an insistence (not just by you) on focussing on the power adaptor which apparently works perfectly and has never generated a shock for me, and is also (and I think that this is crucial) electrically isolated from the chassis of the synth, whereas the mixer (an Alto) is connected to the mains with a 3-core lead. I can't remember the exact sequence of events though and I don't know whether the jack lead was live when it wasn't connected to the synth as I was handling the plug largely by the plastic part. This is the synth innards - top left is the power socket. Both sides of the socket are insulated from the case - I made the mistake of using an uninsulated one once where the outer (+V in Boss power supply world) was thus connected to the chassis (0V in effects world), so I've never used that type again. Immediately inboard is a bridge rectifier, and then a DC-DC step-down regulator feeding the red and black wires leading to the PCB (just out of shot). The jack sockets are on the right - their grounds are connected to the chassis. Next time we go, I'll take a mains integrity checker. The studio owner checked the sockets but AFAIK (certainly when I was there) only focussed on the socket that the power adaptor was plugged into, not the mixer. I was holding a bass, but mains electricity doesn't travel over wireless links.

"Prescient" would do instead, wouldn't it? Oops, I've been presceded.

And here.

Well, if you had a shop which sold used guitars, and you put one of them into a raffle, and not all the tickets were sold, would you only put the sold tickets into the raffle, or would you put them all in and if an unsold ticket came up, say "take it away, Eric the orchestra leader[1]" and pass it back to your shop, saying Eric the orchestra leader had won it? [1] gratuitous Monty Python reference

Why would the PSU being plugged into a different phase than the mixer have any effect when, as I have reiterated several times, the mains is completely isolated from the DC side of the PSU? I doubt that there is any AC leakage as the DC voltage is 9V, the AC voltage is 5mV. The sockets are on the same cable run anyway - adjacent double sockets separated by a metre or so. I should add that the jack plugs on the jack-jack lead are these Neutrik ones and I had very little contact with the metal part as I pushed it in by pushing on the plastic part - when I pulled the plug back out of the mixer after getting (I think) the second shock from the synth case, I held it by the plastic part. Had it been a fully metal plug, I think I'd have got the shock a lot earlier, before the synth was connected to it.

Squier should take a look at the Sire Z7 and offer a J plus switchable MM (parallel/series/single coil). And if they insist on keeping the hideous great headstock, at least put lightweight tuners on it and preferably cut it down to half its length and go 2+2 or 3+2 instead of 4+0 or 4+1.

What, there's a light theme?

All basses should be headless with the truss rod adjustment at the string clamp end of the neck. The Cort Space should have thrust ball bearing races on the tuners. The Ibanez EHB range should have harder top facings and a natural wood finish fretless 5 string, and more choice of parallel fret instruments. The Hils headless range should include parallel fret 5 strings.

There isn't any route for live to the synth via the power adaptor. Conversely, there's no route to earth from the synth via the power adaptor. The livened up earth had to be from the mixer via the jack lead (as it only happened when I touched the metal-cased jack plugs or plugged in the jack lead and touched the case). Inside the synth case there is a bridge rectifier to allow power supplies of either polarity to be used followed by a 5V regulator to supply the Raspberry Pi. I don't think that there's anything I can do to sort this, it's the studio wiring or the mixer.