BigRedX

Just had another look at the OP. If your bass is short scale but needs longer strings for the additional length after the nut/bridge, ask for Newtone for a set based on their Axiom Bass VI strings but without the high B and E (although it might be quicker and still as cheap to just buy the Axiom set).

I might have been reading too much into it, but there were times in that video where Kate Bush's expression seemed to indicate that she wasn't at all happy with what was being done to her song. On the other hand she might just have been struggling to pitch some of the high notes due to poor monitoring...

And if your on a proper computer you can get there in a single move by clicking the triangle next to your user name at the top of the page and selecting attachments.

I'm sorry, but apart from the vocals this to me sounds like a nasty pub band cover, that steamrollers over the subtlety of the original recording.

Will that apply to speakers are taken out to gigs rather than just placed in the relative safety of your lounge?

It's an interesting idea very poorly executed. Like it or not people buy an instrument first and foremost with their eyes. If they don't like how it looks they are very unlikely to ever pick it up and find out how it plays or sounds. I'm very much a fan of instruments made out of different materials and in interesting shapes (after all I'm a Gus user), but this is just boring and needs the attention of someone with an eye for product design.

IIRC that was partly forced upon him due to Ernie Ball acquiring the rights to the 3+1 headstock design when they took over Music Man. They have certainly been very diligent in cracking down on other bass manufacturers who try and copy it.

Leo Fender obviously thought that his original bass headstock "design" was too big because he reduced it on the Stingray.

Price is irrelevant. If you really want a Wal then nothing else will do. If you think something else is a suitable replacement for a Wal then you probably don't actually want a Wal. The same goes for any bass or guitar that is not in the budget copy market.

Either that or you haven't expressed yourself very well. To me your post implies that you can directly compare various high-end basses. You can't at any level above that of the Fender copy market, it's all entirely subjective. The person in the market for a Jaydee (or any other high-end bass) is unlikely to also be in the market for a Wal, and if they are it will be for entirely different reasons.

But a Status or Jaydee is not a Wal. They are three completely different designs of bass with completely different strengths and weaknesses. I would never consider one a substitute for any of the others, and if I did I'd probably be just as well off with a Squier.

Netwone will do you a set to any scale length and any gauge.

Personally I don't like the look of stripy necks. They were vaguely interesting in the mid 70s when they were new, but now they are old hat and besides I'm not interested in having the construction of an instrument take over from aesthetics. Either hide them under a solid finish or of you want to see wood grain, disguise them so it's not obvious - make the laminations out wood that is the same colour, and then hide the through body parts under front and rear facings and have the core body wood wrap around the base of the instrument so it doesn't show at the end.

It's always been my option that the Fender bass headstocks are over-sized in relation to the instrument. The pegs on the machine heads don't need to be that big, it's still possible to tune up comfortably with something slightly larger than the typical guitar machine head peg. Like most of Mr Fender's "designs" it's far more clunky than necessary - probably so it was easy and cheap to make rather than being ergonomic and practical for the musician.

There's plenty of artists on there that I'd go and see if they were playing a small venue in Nottingham, but no one worth the effort of going to Glastonbury for.

Buy a keyboard synth and learn to play it.

And this is a UK based forum where most of the members live in the UK...

Never stopped me. At 5'6" I'm shorter than you, but for most of the 90s my main bass was a 36" Overwater Original as seen here: And here with a more conventional scale, but larger bodied Warwick StarBass II:

Will it be possible to measure the inductance value of the choke before re-fitting it? IIRC there is no value marked on the Gibson circuit diagram, just a part number.

Newtone. The first time I fitted a set of Newtone strings to my short-scale Burns Sonic Bass it was a complete revelation. For the first time I was able to get a proper sounding note out of the E string, before that I had avoided using it because it sounded rubbish.

Yes, but you don't live in the UK where there aren't really any extremes of temperature and humidity between the seasons. I have only had to adjust the truss rod of any of my basses on two occasions. Once when I changed the very high tension flat-wound strings that had been fitted to it originally for some more sensible round wounds; and once when I imported a bass that had previously been in Florida to the UK.

Sounds just like any other bass guitar. Therefore the best method to use when selecting a bass is to get one that looks nice (subjective) and one that suits your playing technique (down to the individual player).

@skidder652003 Thanks!, However AFAIKS all the full-size keyboards are at least 4 octaves, which is too big for on-stage. The Novation keyboard I'm looking at has both DIN and USB for connectivity.

I'm looking for a controller keyboard to use with Logic for programming as well as for playing synth parts live. I don't want anything massive - 3 octaves will be fine (maybe even just 2) but I would like full-width keys (again slightly smaller will probably be fine, but definitely no mini keys). Other than that I don't really know. How useful are the various pads that most of these devices sport? When I last used to do any MIDI programming I simply used the keys on whatever synth I had available that had MIDI sockets on it and bashed at the relevant ones for programming drums. Connectivity - I will need USB for in the "studio" as I do everything "In The Box", but a proper MIDI DIN socket might be more useful live as the audio interface we use to connect to the PA has MIDI DIN connectors on it, and suspect this may be more reliable. Is it? I try and avoid using consumer-grade computer connectors that need to be plugged in on stage, as I don't trust them not become disconnected. Anything else I should be aware of? I've been looking at the Novation Launchkey 25 or 37. What else is out there? Thanks in advance!

That a YoB bass that I would actually play... but not at that price. BTW I don't see what the problem is with the sunburst?