BigRedX

Anything that is basically a knob joke.

Unless you have a particular amp/cab sound that you like and the Helix nails it convincingly, you don’t really need any of the amp and cab sims. In real life an amp and cab are just devices designed to make you bass loud, and any “sound” they have is generally unintentional. The vast majority of my bass patches don’t use and amp or cab sims - just a suitable EQ module - and those that do the amp was selected primarily for its drive sound and is used simply as an effect. However for guitar and Bass VI use the amp models are somewhat more important, although if I had to I am sure I could get away with careful EQ and overdrive/distortion module selection.

I've had a bass with a similar design bridge. This had an allen key screw on the side of the bridge that when loosened allowed the saddles to be moved by hand.

RCF745

Surely the Loadstone basses were also Fender copies but with an even more ugly headstock?

If you are set on 34" scale, then be aware not all the Rockbass versions of the Warwick Starbass are long scale.

Is probably for a DI out (and if it is like the one on Overwater basses still needs a plug in the jack socket to power it on). Normally when these are disconnected it is because a previous owner has swapped out the pre-amp, and obviously the replacement has no DI circuitry. As has been suggested a nice big in focus photo of the control cavity would be useful.

Pub in Leeds in one of the arcades. Nowhere to park the van, so we just pulled up onto the pavement outside the arcade entrance and unloaded. Then all the gear had to be carried through the arcade to the pub, and up a flight of stairs to the room where the gig was. Repeat in reverse for the load out at the end of the evening. In the 90s there used to be a gig venue in Nottingham in a nightclub down an alleyway off a pedestrianised area where the bands played on the 3rd floor (and there was no lift). The Chameleon in Nottingham is pretty bad. There's only one space to (illegally) park while you unload and if it's occupied by a bus or taxi, you have the choice of either circling round the one way system to see if it's free when you come back or parking a long way away and carrying everything. The entrance to the venue is down a dark narrow alley way and the gig room is up two flights of stairs, one narrow with a door top and bottom and the other not so narrow with a door at the bottom only.

Anywhere that the band feels comfortable and the engineer understands what you want without it needing to be spelled out.

Any bass player making that kind of money will also be a songwriter.

It's all very much down to what you play. Most of the time 19 would be fine as if I'm playing tune and drone on a pair of strings it gets the tune string 2 octaves above the drone string. If I was going to use any more it would have to be 24 frets.

I think, than more than most basses it really does depend on the strings you put on these, so it's a pity that the version I had made it so hard to set up each time I changed strings. I liked the second set I tried (TI Flats) and stuck with them. However, I would have kept mine if it had been a 5-stringer. I may well have one again in the future if I find myself in a band playing music that requires fretless bass.

I used to have a second-generation Lightwave FL bass. When I played it it didn't sound much like the one in the review.

You say that but have you actually measured all your basses? I hadn't really paid much attention to string spacing (I play all sorts of stringed instruments with different types and numbers of strings, spacings and lengths so I suppose I find it easy to adapt - or more likely I'm equally useless on all of them), until I had my Sei Bass made and Martin needed to know these things. Not having considered it before I went home and measured up all the basses I had and discovered that the sting spacing at the bridge varied from just under 16mm to 19mm (and that was just on my 5-string basses). The spacing at the nut was just as varied and there was no correlation between spacing at the bridge and at the nut - wide spacing at the bridge did not automatically lead to wide spacing at the nut. In the face of all this conflicting information I just went with the same spacing as on my Gus Basses because they were the ones I was mostly playing at the time and it felt to me just as good as any of the other bases I would use from time to time. I have got a bit more concerned about string spacing since I started playing Bass VIs but that is more about finding an acceptable compromise between having enough space between the strings and at the same time not have a ridiculously wide neck. Here I've found that the string spacing at the nut is the more critical measurement. IME most Bass VIs have necks that are narrow even by guitar standards. My Squier Bass VI has a narrower neck than any of my 6 string guitars.

There were loads of bands in the early 80s doing this kind of minimal music with more conventional instruments mainly because they couldn't afford to buy synths. Musically it's very post-punk, and it reminded me quite a bit of Delta 5, but with a more "modern" production.

I've been using Schaller Straplocks since the mid 80s and have never had a problem with them. If anything because the score is more deeply recessed in the Schaller button it goes deeper into the wood and hold in place better than the original. I've owned one bass with the Dunlop style locks. One of the failed within 3 months (the bass was brand new) so off they came to be replaced by Schallers. I've never tried the rubber washer method, but if I wanted to have a strap permanently attached to a guitar or bass, I'd simply unscrew the existing strap button and re-attach it going through the ends of the strap at the same time.

Depends entirely on the construction of the neck joint. It's no use having frets that are uncomfortable to reach because the heel gets in the way.

Sorry to burst your bubble but from a musical PoV none of the bands you have specifically mentioned would have been out of place on John Peel's show in the early 80s. And Slowthai/Grime/UK Hip Hop is just Rap with a UK rather than an American accent. I'm not hearing anything radically new.

It's weird how those of us who are fixated on string spacing only ever talk about the measurement at the bridge, but since hardly anyone plays right next to the bridge that measurement tells us almost nothing. Without knowing also the string spacing at the nut and the scale length you simply don't know what the spacing is going to be like at either the position your plucking hand does most of the plucking (most likely around the point where the pickup would be on a P-bass), or at the point where your fretting hand does most of the fretting (mainly around the 1st and 2nd positions). And to assume that neck taper is always the same, and that the other measurements can be extrapolated from the bridge measurement, is simply wrong. For instance the bass I had with the widest string spacing at the bridge also had the narrowest string spacing at the nut, so those who like a wide string spacing would have found plucking fine, but the neck would have felt comparatively cramped. I've played a lot of different basses with very different bridge string spacings, but what I found for the 5-string basses at least was that the point at which I most commonly plucked the strings on each bass had very similar distance between the B and G strings (less than ±1mm over all the basses). For me therefore the important measurements (if I was going to look at those rather than just play the bass to see if it was comfortable or not) would be at the 5th fret and approximately 7/8 of the string length from the nut, as these are the points where my left and right hands will be most of the time when I am playing.

String spacing is traditionally measured at the bridge but you really also need to know the spacing at the nut as well as the scale length to get an accurate picture from the numbers. In the end the best thing to do is to play the instrument in question. You’ll either like it or you won’t and you’ll find out much quicker than you would be looking at the specifications.

Just my personal experience. I have yet to play a 5-string wth a new sub £1k price tag that I liked the feel and sound of. To the OP you should try 5-string basses at all price points to work out what you like and don't like about them.

Yes, I used to find playing patterns across the neck difficult for those that used low E on the 4-string, but once I changed to 5-string they were much easier. I think it is mostly to do with where the string lies in relation to the profile of the neck.

As someone who mostly plays 5-string basses (and plays Bass VIs the rest of the time) one of the most comfortable things for me is that the 5-string moves the low E string away from the edge of the neck. This is far more important than any neck profile IMO.

As I always say don't buy a cheap 5-string unless it's a bargain second-hand bass. There is a lot more to making a good 5-string then simply taking the standard 4-string model and adding a wider neck to accommodate the extra string. The most important thing is the stability/rigidity of the neck and neck joint. Unfortunately most of the budget models don't take this in account. Also don't be tempted by 35" scale length unless you like the extra space between frets. The additional inch does nothing and you are always better off with improved neck/neck joint construction. Any manufacturer capable a making a good 35" scale 5-string bass is also callable of making a good 34" one. This leads to bassists trying a cheap 5-string and hating it, and so they should because invariably it won't be any good. As someone who has mostly played 5-string bases for the past 30 years (the other basses were either fretless or short-scale bass VIs) I can honestly say that IME the entry level for a decent 5-string bass is at least £1k new. Unless you are lucky anything cheaper will be a disappointment.

When I was a teenager being a Tufty Club member was shorthand for being a NF skinhead.