BigRedX

Big, full screen ads work against the advertisers far more than they work for them. Every time when of these pops up, more users install an ad blocker that blocks all ads on all sites. As someone who used to produce on-line ads for a living I can't see any advantages to them. Does anyone ever click on them other than to try and remove them from the screen. @charic maybe you should ask the company serving the ads on Basschat what the click-through and completion percentages are for full-screen ads. I suspect they are going to be very low and negligible, respectively.

Pointless clickbait non-information with personal preference dressed up as fact. The secret to a great bass tone is to listen to the arrangement of the song and then find a sound that enhances that arrangement further.

For VAT and duty you need to allow an extra 25% on top of the DECLARED value of the item and postage. This will include the courier handling fee for sorting out the payment of VAT and import duty. The important point here is that the VAT and duty are calculated on what the sender has DECLARED on the customs form and there is a good chance that they will declare the initial value of £441.21 rather than the discount value of £378.18. They might even declare a higher value if they want to cover themselves in the event of needing make an insurance claim. Finally and most importantly there is CITES. That looks like a Rosewood board that will be subject to CITES regulations and requires licences at both export (to be paid by the seller who will most likely pass on the cost to you) and import (to be paid by the buyer - you). AFAICS the import licence cost £74 and I would expect to export licence to be much the same. You MUST have both licences, without them the instrument will be seized at customs and probably destroyed. For this reason alone I would be very reluctant to buy any wooden musical instrument from a country outside of the EU. So allowing a worst case scenario expect the import and VAT to be calculated on the original full price of £441.21 plus the shipping cost, and budget for having to pay for both CITES licences. A quick and dirty round up calculation makes that £850 all together. I would allow £1000 in total to cover any unexpected over-valuations by the seller when shipping and whatever the costs of the CITES export licence in Mexico is. That way you shouldn't have any nasty surprises, and with a bit of luck you'll end up paying closer to £850.

I don't like non-angled headstock because IME anything that impedes the string path between and nut and the machine head post leads to tuning problems.

I went and tried an Ibanez SR306 that was in the local PMT, and which I assume has the same 54mm nut as your bass. For me that neck was much too wide, which has helped me to set an upper limit on the neck width as being closer to 47mm that utilises the whole width of the neck rather than the 45mm Burns Barracuda which has the strings set in quite a way from the edges of the neck.

It's a situation that has arisen from cost saving choices made back in the late 40s when the first Fender instruments were being designed. To have angled headstock required either a larger piece of wood for the neck blank or a joint between the neck and headstock, both of which went against Leo Fender's design ethos of making his instruments cost effectively and without requiring specialist luthier skills from his workers. In these days of CNC machining, when even the crappiest Chinese guitar factory is capable of making an angled headstock with a scarf joint that will be stronger than a single piece of wood, the cost and labour saving aspects of the non-angled headstock has been completely negated.

I don't see what iy would be a problem getting the two woods to give a seamless transition. If it was you couldn't have an all ebony fingerboard on a maple neck either. It's most likely a piece of ebony with a lighter grain section that has been used, although I wouldn't be using that particular instrument in a catalogue, since it is going to be unique.

I did this back in 1997. The bass part is bass guitar going through a Peavey Bassfex multi-effects unit and a Peavey Spectrum Filter:

I see the cookies tab has now gone. Does that mean that Basschat is back to the standard log-in cookies and nothing else? I also notice it is not longer possible to log in invisibly. Why is that?

Thanks, good to hear that you are on it. Any news about the cookies?

Since the last update I've started receiving a message asking me about accepting cookies. I am quite happy to accept those which keep me logged in on Basschat, but not so keen for any for 3rd parties like advertisers. When I click on the Cookie Policy tab at the bottom of the screen I get the following message: Sorry, there is a problem The page you requested does not exist Error code: 1S160/2 If you are going to have a Cookie Policy it needs to visible and ideally if there are Cookies beyond those required for the basic functionality of the Basschat forum they need to be individually listed with what they do, and the option for users to opt out. Also since the recent update when I view a thread on my iPad the column width defaults to portait width even when I have the screen in landscape orientation, which means that a third of the screen is wasted with blank space and I because the width stays as Portait I don't automatically get the increased text and interface size,. It would be great if you could find a way of re-instating the old way of displaying the site. Thanks!

Just turn up the level downstream in your signal chain.

Which is why I've ditched the bass amp Sims completely except for when I want to make a feature of the drive tone. Currently my favourite amp Sim for clean bass sounds is the one based on the Roland Jazz Chorus combo. You wouldn't want to use a real one at gigging volumes, but because it's just a digital representation there's no danger of damaging it. Have a play with all the amp Sims. The worst that can happen is that you won't like the sound.

CITES. If you bass has any CITES listed woods you will need an export licence and your buyer will need an import licence. For this reason alone I would be very wary of selling any wooden instrument abroad at the moment. Have a look at this thread for more details

Nothing wrong with tuning up mid-song provided that firstly you are audibly out of tune and secondly you aren't supposed to be actually playing something instead of tuning. I suppose I have been lucky with most of the guitarists that I have played with in that don't have a compulsion to tune up at every available opportunity, especially when their guitar is not noticeably out of tune. The best was the last guitarist in The Terrortones, who at one gig broke a B or G string during the second song on a hollow-bodied, Bigsby equipped guitar. He was able retune on the fly during the song without interrupting the flow of the music, and played the rest of the set with only 5 strings, adapting what he did to compensate for the missing string.

For a standard mic stand K&M. Properly made and should you break something all the parts are available as spares. If you want something more interesting have a look at Rebel Mic Stands.

Some of the least convincing Photoshop work ever.

I'm still looking for the perfect (for me) Bass VI and have come to the conclusion that it will have to be something custom made to get the neck width, string spacing and pickup routing that I need. I got Simon at Gus Guitars to price me up one based on the G3 6-string Baritone, but it is out of my price range for the moment. In the mean time I'm making do with the Burns Barracuda. In the band where I use the Bass VI I alternate bass and melody parts with our synth player - the line up is vocals, synth, bass VI, and drums. We will have our debut single out very soon (hopefully before the end of the month) and then you'll be able to hear how it works.

One band doesn't have a guitarist (although I play "guitar" parts on the Bass VI). In the other band both guitarists tune up at the beginning of the set and that's it. I can't remember the last time they had to retune mid-set. I must be lucky, although TBH I wouldn't tolerate being in a band with a guitarist who insisted on breaking the flow of the set for tuning, they would be sacked in pretty short order if it was anything to do with me. Just buy a guitar that stays in tune (all mine do).

The second one looks like what you need. The first is just a standard rotary switch.

And quad pole by the looks of it. Corrected from my original post.

You are a couple of days late.

That's still a reasonably big venue in the video, and while those right down at the front may be able to hear Guy's rig, for the rest of the audience the bass sound will be supplied by the PA and the cabs used in the bass rig will have zero impact on what they hear. IMO for anything other than small pub gigs you need to be insanely loud on stage in order for the cabs in your bass rig to make any significant contribution to the FoH bass sound, and then any half-way decent sound engineer will be telling you to turn down on stage.

IMO "dead air time" is far worse in an originals band where a lot of the songs might be unfamiliar to the audience and the band need to keep them engaged all the way through the performance without having a set list full of guaranteed crowd pleasers to fall back on. If I had my way, pauses between songs would be the minimum required for some applause, and a brief announcement of what the next song is called. And with programmable multi-effects I have all the sounds in need for the next song at the push of a footswitch. There is no need to be fiddling about with the controls on my bass.

On my Helix. Patches are arranged in the order that we are going to play the songs - one patch plus up to 4 snapshots for each song. Patch up foot switch selects the next patch and its name tells me what the song is. In my early days of playing none of the bands I was in ever used set lists. We learnt the songs and the order in which we were going to play them.