Hellzero

I've used an ironing stool for a while ("stole" it from my mother a very long time ago), so you are sitted, but almost still standing and in a comfortable position. Quite cheap if you want to buy one.

And this, bad taste at its best :

And what about the cheapo plastic Fender ones where they even write what it's meant for in case you are completely deaf. Ok they are meant for guitarist in first place.

It's because of the smell.

Varvick is the way German people pronounce Warwick. Happy fun, no.

Or even better, not called them.

https://www.ormsbyguitars.com/djent2018.html Quite easy to play power chords, no ?

I think you've got it all wrong even at the biscuit Ritz, it's pronounced just like scone and not scone. Damn, learn to read.

A pickup is supposed to be as accurately as possible transmitting the signal, which side by side humbucking (phase cancelling due to the two picking points) soapbars don't do and certainly not the Wal pickups with their 8 coils per pickup (for 4 strings basses). You might like the sound of it, for sure (as I do), but saying it's the best soapbar is some kind of heresy. Furthermore, the OP is looking for a P/J set in soapbar housing (EMG 35 or Bartolini BC)...

Just for fun, imperial measures are supposed to have been abandoned in 1875 in favour of the metric system ... worldwide. And England was one of the first to adopt it with France where it all started, but some seem really reluctant to use it : you know, old habits...

Traded my quite rare MTD/Bartolini NS3TMB-18 for Michael's Pope Flexcore. Everything went smooth and easy. Great communication and a pleasure to deal with. A+++++++ as they say elsewhere.

With this design, meaning split humbucking coils, you'll get a tone closer to the typical P-Bass sound, but you'll loose the punch of the single coil. And this is what you get. To me, if you accept to mix two "types" of pickups, you can put a Fat Stack in bridge position and a Big Split in neck position, so you'll get hum free P/J on steroids configuration and still the opportunity to have a real single coil sound when splitting the Fat Stack. If you can deal with the single coils hum, then give a try to the Big Blade or the Big Single of course (they are very close soundwise, the Big Blade being asier to fit as you don't have to care about strings spacing). In fact, I always prefer the single coil sound, but sometimes you need to cancel the noise, so humbuckers are mandatory (EMG's are all humbuckers except for some of the HZ series). The Nordstrand are terrific pickups and their single coils are awesome (my prefered pickups when it comes to single coil). There's another possibility, that's the dummy coil system, but apart from Alembic and Leduc, and at a time the Audere dummy self preamp, I know nobody using this and it's sad as you get the best of both worlds : a real single coil sound without the noise as it's a hum cancelling system...

Christoph Dolf from Bassculture in Germany can make you almost whatever you want. The EMG catalogue has every type of sound in that housing, but you'll have to like their linear sound. To date, the Nordstrand Fat Stack (FS4 in EMG 35 housing) is certainly what you're looking for : http://bassdirect.co.uk/bass_guitar_specialists/Nordstrand_Pickups_Signature.html Avoid side by side humbuckers as you will loose the clarity and punch you are looking for.

Agreed for Fad Gadget : underestimated is the word. Just listened to one track of few minutes ago on the radio (Belgian broadcast called "Generation 80"). I've seen SPK just after their massive hit "Metal Dance" and it was the beginning of the end. Still can't find my original 12 inches with this hit nor their first LP I bought called "Leichenschrei". A more than predictive title.

Saw SPK in the 80's, was a sort of unaudible heavy electro destroy trash metallic music with a cute yelling "singer" , but as I was young I liked it. Einstürzende Neubauten and even Laibach were way more musical but absolutely non communicating with the audience. Saw Fad Gadget during the same period, was a strange concert with Frank Tovey making crowd surfing all along the show. I feel strangely old yet...

Michel Petrucciani Trio at the Gaume Jazz Festival in Rossignol on the 16th of August 1992. The place is 15 kilometers from home, and I usually go and see every concert of the festival. That year, I decided not to go even if Michel Petrucciani was playing because the other bands playing didn't catch my attention at all. I heard an interview of Michel Petrucciani saying that his disease wasn't lethal, and thought I'd go elsewhere to hear him play. I waited so long that I never saw him as he died in 1999...

Because the briges are far too high. This "bass" was already for sale some time ago, but it's a total waste of money even for £55 GBP which should be the asking price. No one called a luthier could ever make such an instrument. Nothing is made the correct way.

Stradi offers some 2,100 years old oak for the top of their basses. I got one on my Symphony Bass, but don't know if it's really dry.

You read it totally wrong indeed, you are interpreting as I never wrote that there is "no reliable way of telling from tone alone what the finger-board is made from, nor the body, nor which strings are used", I just mentioned the "issue" with the body wood by MusicMan, but you are forgiven as you are a drummer. It's an endless debate, but there are clues in your post and others too : to most of the people a bass is a bass is a bass, period. A lot use tons of effects including distortion and compression. I'm not pedant or patronising, but I play my instrument without any other effects than my fingers through the most transparent system possible including the on-board preamp when there is one and amplifier (combo) : this is what I want to hear, the notes I'm playing the way I'm playing them without any artifice. I even made an asked "conference" about the main basses and their differences in term of sound. I also explained how to set an amplifier to hear how your instrument really sounds so you can reproduce the same tone everywhere and that's quite easy to do. But I think this CITES thread is going in the wrong direction and that it's another debate. IMO, CITES has opened some minds to endangered species and to a new approach for making instruments, even if the makers are not the one endangering the species.

But they'll both taste like bananas, certainly with some difference in the taste, but you will be able to tell what they are by looking at them and eating them or even smelling them. It's exactly the same with woods or anything organic : there are the basic specifications by which you can identify them and then there are the oddities by which you can have some classification within the same species...