BigRedX

The Electrical Guitar Company make some very nice looking instruments. That boring P-Bass copy isn't one of them. Even if you could patent styling features, any patent would have run out a long time ago for both the TB and Kramer versions.

What are the speakers for? Just a better/louder reproduction of audio from iTunes/Spotify/YouTube etc.? Or as part of a home recording set up? In the case of the first stevie has already answered you question. In the case of the second you should really be looking at an audio interface with better D/A convertors between the Mac and the amp.

The way I look at it, is because the effects/amps/cabs are just models I can use any of them without worrying about them getting damaged due to feeding them with inappropriate signals in terms of frequency or level. At the moment my favourite amp model to use on the bass is the one based on the Roland Jazz Chorus amp. Because the worst thing that can happen is the end result won't sound very good, I'm just getting in and experimenting. Everything and anything is available for me to use. Stop thinking that you have to use models of bass equipment for processing your bass guitar and try something different.

But which is the "classic" line-up? Bill Buford or Alan White on drums Tony Kaye, Rick Wakeman or Patrick Moraz on keyboards?

As others have said the "Jazz" basses from the two companies have very little in common other than they both share a body shape that has its roots in the Jazz basses produced by Fender. Beyond that everything is different. It's pretty much the same with any two high-end basses from different luthiers. While they might seem superficially comparable, for the discerning musician, you pick the one that speaks to you.

Also while The Terrortones were without a permanent drummer and using deps, two of them were readers. One only used his scored-out drum parts while he was working out the songs with us in rehearsal. Once we were gigging everything was played from memory. The other had his parts set up on a music stand, put it still didn't prevent him from messing up the drums on our single twice, in two different ways.

Although none of them have actually used the skill while playing in any of my bands I suspect at least 3 of the drummers I've worked with could read. One used to play side drum in the Boys Brigade. One had previously worked in Nashville as a session drummer. One, as well as teaching drums full time for a living, is also an orchestral percussionist.

I quite like that finish on the body. And unlike manufacturers of other bolt-on neck basses, I'd trust Warwick to have made that neck joint function properly despite the way it looks. When I read the title I was expecting to see this bass:

The easiest way is to get someone else to do it for you. There are plenty of budding film-makers around who will do the job for £100-200. This Terrortones "performance" video was done for about £150 which included hiring the venue where it was shot, took a couple of hours to film and the approved edit was completed by the end of the week.

The relative heights of the bridge should match the radius of the fingerboard. Since the bridge is specifically produced for this particular bass, there isn't any reason for the action of each string to be individually adjustable. If there is a problem on just one string then there is probably something wrong with the frets.

Isn't the bass in the OP "double stained" that is the first application of stain is allowed to penetrate deep into the wood and then the top is partially sanded back to remove the stain from the less porous areas. Then the whole body is retained again which gives a higher contrast effect on the grain. If so depending on what sort of finish the OP is intending to apply it might involve either a lot of sanding to remove the first deep stain or very careful sanding to only take off the second stain.

This would have been the ideal solution, but unfortunately it is not similar to the mobile look, but exactly the same as the mobile look, which while removing the unwanted right hand columns also removes a lot of navigation features that I find useful such as the breadcrumb trails.

More importantly how do I get rid of the whole Status Update and other columns on the right? They have nothing of interest to me in them and they take up valuable screen real-estate. The old version of the forum used to allow this.

From what I've read the 3-bolt micro-tilt system was originally developed to be used on Fender's acoustic guitar range where tilting the neck was the easiest user-friendly method of changing the action. For some reason it was decided to also apply it to the solid bodied guitar range, despite the fact that there should have been enough adjustment available at the bridge to make this unnecessary. It didn't actually get phased out at Fender until the early 80s, and I suspect that mostly due to fact that Fender was undergoing massive upheavals in management and trying to get the business back on track, which at the time meant re-creating instruments of the pre-CBS "glory days" and getting rid of most of the features developed during the 70s of which the 3-bolt neck was one. The reason for only 3 bolts on the micro-tilt system is that it is easier to adjust. You only need to slacken off the single bolt, the neck then pivots on the other two bolts while you adjust the micro-tilt, and when the adjustment has been made tighten up the single bolt again. In theory quick and easy. In practice it was really a solution in need of a problem. There should have been enough vertical travel in the saddles to allow for all the action adjustments required, and even if there wasn't, it's not too big a deal to take the neck off and add a shim.

On one string only?

If you'd read my post right at the beginning of this thread you'd know that the three bolt micro-tilt system was dropped because Fender's engineering practices and quality control did not allow the mechanism to be installed in such a way that let it to operate as intended without any unwanted side effects. If the neck pocket and heel of the neck have been machined properly a single bolt would be all that is required. It the mating surfaces are flat so that there is 100% contact and the neck is a snug fit in the pocket, the bolt is only there to hold the two parts together when under the tension of the strings and even then much of the force exerted on the joint will be tending to pull the neck tighter into the pocket. The bolt is only there counteract the lifting action of the string pull.

If you think that Bass guitar GAS is expensive wait until you get seriously into synthesis... For your first synth it doesn't really matter what you get so long as it has at least two oscillators, Filter, Amp, LFO and two envelope generators. Other than that it's heather you want to be able to play chords or not. Monophonic (one note at a time) will be cheaper, polyphonic will be more versatile. Once you've played with it for a while you'll start to learn what features are important to you and what you can't live without. If you really want to get to grips with synthesis buy something without patch memories, because it will force you into creating your own sounds rather than relying on the presets that are already in there.

I always liked what Aria Pro II did with their take on the single-cut solid electric guitar in the late 70s, where the knobs were recessed into the carve of the top.

It's all very impressive until you realise that two keyboardists could do the whole lot in real time and more accurately too.

I think the last update switched the sound back on for notifications even if it had been previously switched of before. That was certainly the case for me on both desktop and iPad.

Are the pole pieces on this pickup actually supposed to magnetic or should they be attached to a magnetic base plate?

It think it depends very much what stage lighting conditions your band plays under. These days most of the time normal white side dots and suitably dark fingerboard for contrast are perfectly sufficient. When I was playing with the Terrortones, because we wore sunglass on stage as part of our image, in some of the less well-lit venues it could be a problem seeing the side markers. I had Luminlay inlays fitted to my Warwick Starbass, but they were never bright enough in the conditions where they were required. In that case only bright LED markers would have done the job.

The (K)ARP Odyssey is monophonic (single not at a time) with a fake duophonic mode where each of the two oscillators can be assigned a separate not from the keyboard but they still share the same filter and amplifier envelopes, so if you need to play chords on it then you'll have to look elsewhere.

Won't they wear off? I did a guitar back in the 80s with stick on dots on the fingerboard. They lasted just over a month.

What’s wrong with set necks?