BigRedX

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.

I can't see the point in having an on-board pre-amp that just duplicated what you should be able to do better on your amp. The only on-baord pre-amp that I actually use on any of my basses is the ACG EQ1 as not only does it do something that I can't replicate elsewhere in the signal chain, but it also allows me to EQ each pickup individually.

Amps and cabs are just modules with a baked-in sound and some degree of adjusting that sound. If you don't like the sound a particular module gives you, then don't use it. I have the full version Helix and most of my patches don't use any amp or cab modules at all. When I do use them, it's either a guitar combo sim (Roland Jazz Chorus) or it is specifically for the distortion sound that a particular bass amp gives.

I think it has a s much to do with the kinds of music you like as well as the era when you got into music. My first interest in music was 70s glam rock and then progressed to punk/post-punk, synth pop and then acid house/progressive house. My while most of the genres I liked owed their roots to US artists, it was always the UK and European bands that took the music and made the definitive versions of it. Until the late 90s and early 2000s I owned hardly any records or CDs by US bands. In fact these days I probably have more Japanese music than that from the US.

It's not just the type of pickup but also where they are positioned and how they are wired up when both are selected.

I really can't see the point in commenting on a sale thread. If it's something I'm interested in buying, I will PM the OP, otherwise there is nothing worth saying.

To get back on topic... To the OP what is your bass rig for? Is it the sole means by which the bass guitar is heard by the audience, or do you have PA support?

Randomly changing the price for a higher one when relisting can be a legitimate technique especially if you have watchers who aren't bidding. Drop the price a couple of times and then put it back up. Eventually someone will take a punt.

It looks like it has never been serviced as it still has the Bulgin mains connector, which needs replacing ASAP.

Yes I do. The XLR cable goes to the single XLR input on the RCF.

I’d like to think I am Dan Weir of Espedaire Street. Not the front person, but the one responsible for (co-) writing all the songs, who just happens to be the bass player.

Definitely not a Kramer. It does share some similarities with the aluminium necked- Hondo Alien that I used to own - 2 screws on the neck-end string retainer (Kramers only had one). My Alien also had what looked like a Schaller 3D Bridge, but it was made of some weedy metal unlike the real thing. AFAIK All Kramers were made in New Jersey USA. The headless Duke was made simply by sawing off the headstock off their stock necks.

I haven't worn a watch for a long time (since the late 90s). In the days when I did wear one, if would always be removed before playing as it didn't go with the band image.

We've already done this. Please try and keep up.