BigRedX

I don't see why it's a problem. There's plenty of other basses out there and according to your post you already own some that you like. So why are you apparently so desperate to find a Precision that you "bond with"?

Is that for the Schaller bridge? I would have thought it would be cheaper to buy direct form Schaller, or through one of their UK dealers.

The easiest way to buy a Tune would be if you were friends with a Japanese musician who could act as an intermediary for you. Unfortunately a lot of Japanese companies aren't geared up for selling outside of Japan and will generally ignore you as a foreigner because it is just to difficult and/or embarrassing. Having said that Tune basses do show up in Ishibashi's U-Box (their second hand selection) and they are pretty good at dealing with potential buyers from outside Japan. The only thing you need to watch with Ishibashi, is because of the time difference between Japan and the UK, instruments can often be sold locally in the time between you seeing it on the website and their customer services dealing with your email enquirery. There was a very nice looking (and relatively inexpensive) 10-string Tune bass that showed up a few years ago on Ishabashi. Unfortunately at the time I didn't have the cash spare to buy it.

Can someone who actually knows something about physics and tension forces prove or dispel this for once and for all?

You can get dimmable LEDs but you may need to change the dimmer switch to an LED-compatible one.

Tune Japan also make a one-piece 8-string bridge. I fact I'm surprised that they haven't been mentioned more in this thread. If I was going to buy another 8-string bass I wouldn't make any decision before trying a Tune. However if you think the Schaller bridge is expensive you shouldn't do a currency conversion on the Tune one! That means AFAICS there are only 4 different 8-string bridges with individual intonation adjustment for each string currently available. What is the problem with the T-O-M style 8-string bridge? The generic one fitted to the Dean, Schecter, Spector etc. basses is a perfectly functional unit. It's just the horrible tailpiece that makes it look so ugly IMO. As the Warwick bridge is essentially for Warwick basses only, there shouldn't need to be any reason to adjust the height of the saddles individually since the radius of the bridge and fingerboard should be matched. The Schaller one appears only to be sold as an after-market part there is no way of knowing what the fingerboard radius on the bass is going to be so the saddles have to be individually height adjustable.

So how have you learnt your parts for the songs - from recordings?

Having actually owned one - it's an Andreas Shark Guitar, no tuning issues at all one account of a properly cut nut that allows for those string angles.

A not very interesting song reduced to elevator music... And what's up with the guitarist? Is he about to rob the others? ;-)

Made by someone inspired by Wishbass?

Some more observations that the OP might want to take not of... I'm assuming that both songs in this mash-up are covers? I'm familiar with Superstition, but not the other song. If that is the case, it may make it trickier to get the licences since not only will you have to get (and pay for) a licence for each song if any of the rights holders don't like how you've combined them, they might not allow to use their song in this way. Also I would recommend that for the moment you set your SoundCloud link for this track to private and get this thread moved to Off-Topic where it is not visible to Internet Search Engines. If any of the rights holders for these songs are a bit "iffy" about granting you a licence, the fact that you have essentially released the song before the fact might just make them say "no". Which brings me the crux of the matter... What do you hope to achieve with this track? Because you aren't likely to make any money off it. In fact it's probably going to cost you a lot more to put this out legally than you are ever likely to receive back in streaming or download sales. Cover versions rarely make the artists cover them any money unless they are massive hits.

As a general observation, getting the appropriate permissions for a cover song release these days is a lot harder than it used to be - especially since digital downloads don't have a finite quantity. In the past with vinyl or CD you simply told the MCPS how many copies you were pressing, what the retail price was and what proportion of the songs were covers to originals and they worked you out a price based on those figures. You paid and they issued a licence which allowed you to get your records or CDs manufactured. It was as quick as it could be given that everything took about 28 days by post. The rights holders of the song(s) you were covering were rarely bothered as they were getting their share of all the Mechanicals up front irrespective of how many copies actually sold. These days of digital downloads sales numbers are open-ended. You might sell 1 download to your mum. You might sell 10,000,000 all over the world. That means the Mechanicals have to be recorded individually for every sale and only come in as and when a download is actually sold. Also the rights holders can be a lot more precious about how the songs are used. They might also be worried that a cover may detract from sales or the "original" version. My experience of trying to get covers cleared and licensed for digital distribution, has been that on the whole it's simply not worth the time and expense required to get the permissions. At the moment, my 80s synth band have been toying with the idea of re-releasing our two cassette EPs along with some other demo recordings as a digital album. However one of the tracks in a cover. Trying to get permission to include it, has so far proved to be hard work. We'll probably end up having to leave it off.

That look pretty good. Is there an option to fit lighting to the top like a "Nimlok" stand?

PPL is yet another organisation you probably want to join, but completely separate and different to PRS/MCPS, As Steve Browning says, if you want an ISRC for your track which makes getting performance royalties much easier, then you will need to join. However there is absolutely no reason to pay for your ISRC. Join the PPL as a record company member as well as a musician member (they are separate applications so complete both), which cost nothing and you can generate as many ISRC as you need for free.

Get in touch with PRS/MCPS for the appropriate licence. That’s assuming you are in the UK. Otherwise you’ll need your national PRO.

No I’ve ordered a Mk4 version. From what they said it looks as though they just messed up my order.

If it’s just for a single (one track only) and you use CD Baby, they will handle the licensing application for you. Have a look in their FAQ all the details are there. However be aware that your application can be rejected depending on the owners of the rights to the song - writers, publishers and anyone else who has in interest.

If you just need the EQ sound for some songs (or parts of songs) and use the standard passive tone the rest of time, then an EQ pedal will probably be more useful in that it will have a bypass foontstwich, whereas most outboard preamps are designed to be permanently affecting your signal.

They were good enough to phone me up and apologise, but it was after 5 pm when they did, so too late for me to do anything constructive about re-arranging my time until next week. If it wasn't for the fact that they are significantly cheaper on this item than everyone else I would have probably cancelled my order.

Unfortunately the death of Rock n Roll has been slightly postponed. Having organised my week so I would be definitely working from home tomorrow when the RCF was due to be delivered, I've just received a call from Bax Shop telling me that due to an error my speaker won't be out for delivery tomorrow. Not happy...

I practice the songs I'm going to play, each in the key I am going to play them. The rest of the time I work on writing new songs. History and experience have shown me that the musicians who do well out of the music business are the ones with songwriting credits on popular songs. My songs might not be popular (yet) but I'm earning PRS royalties from stuff I wrote back in the early 80s. Because the songs and the recordings last long after the band that originally played them has ceased to exist, their earning potential goes on pretty much forever.

Many years ago (it was when Sound Control was still a going concern and before buying stuff on the internet had really taken off) I wanted to buy Herco Flex 75 picks in bulk. A friend who used to work there had been able to get me a box of 100 picks which worked out at well under half the price of buying them individually and at the rate I was using/losing them it made good sense. As I was nearing the end of my current stock I popped into the shop to enquire about getting another box of 100. After a lot of poring over stock catalogues, was told "we'll see what we can do". A couple of weeks later, I was told my picks were in stock and I turned up to be presented with a pack of 6. Me - "No that's no good - 6 will last me about a month if I'm careful. Can you get me a box of 100 like you did before?" Them - "It was supposed to be 100. We'll place the order again." So off I went. In the mean time I had a search on the internet. It turns out that Herco Flex 75 are still available in 100s but seemingly only in the US. Still I'm sure that Strings & Things will be able to sort me out. And so for another 6 months I was bounced between Sound Control, Strings & Things and Jim Dunlop (who own the Herco brand) in the US. Jim Dunlop would only deal with Strings & Things because they were the UK distributor. Strings & Things would only deal with Sound Control, because they didn't sell direct to the public, and it didn't seem to matter how often I went into the shop or phoned them about the progress of order, the box of 100 picks still hadn't arrived. The manager of the shop looked embarrassed to see me every Saturday, and he had no picks to sell me. Finally I tracked down a source in the US who would sell me 100 Herco picks and ship them to the UK, and I was just about to do the deal when Sound Control phoned to inform me that my picks had arrived. I ended up getting a second box of 100 for free for being so patient. I've almost used up all of these 200 picks, but luckily there are plenty of sources in the UK who will sell me 100 Herco Flex 75s at a sensible price.

I suppose... However when I was getting into rock music and the instruments that it was played with in the early 70s, one of the things that made Rickenbacker basses stand out was the triangle inlays. In fact for a while I assumed that Rickenbacker must be the go-to bass guitar since so many of the bass players in my favourite bands used one, and I was quite surprised to find that they also made guitars!

The RCF 745 and the Line6 Helix (along with my Linn Adrenalinn) should cover all my bass and guitar tone-shaping and amplification needs and at worst when I sell my old bass and guitar rigs I'll make all the money I've just spent back.

Have a look at anything by Hughes and Kettner with valves in it. And to confirm what overs have said about output levels, I have a (now discontinued) Hughes & Kettner Tube 50 combo (50W) and have never used it without running into a Marshall PowerBrake on less than half volume. If I was looking at another all-valve guitar amp I probably wouldn't consider anything over 30W.