BreadBin

I've purchased 3 distortion pedals, 3 octave pedals, 2 compressors and a preamp as well as the aforementioned Genz Benz amp so far. I've kept some of them... I also traded one TCE combo for another. I have well and truly failed!

ZZ Top have always played stupid looking instruments for show...

I'm seeing Zeal & Ardor plus Heriot at Trinity in Bristol tomorrow.

Scalping https://youtu.be/A3csp9tH-5c

Some more tweaks, and some groovy led effects in the photo! Signal path is:- Super Symmetry to ABY A out to B3k to a mini mixer underneath. ABY B out to Poly Blue Octave to Heffalump to mini mixer. Mixer to Le Bass to amp. V Express Expression pedal A/Bs the Octave, Digitech goes to a TC Electronic amp with 2 Tone Prints. The mini tuner runs off the Thru out of the Le Bass and stays on. Pretty happy with it - can do clean, various levels of drive, fat synthy octaved fuzz and whatever one desires from the Tone Prints. Currently have a couple of different flavours of chorus.

I opened mine up the other day for a look. The entire section below the knobs could be cut off, the only thing in it is the switch!

Nailed it.

Yes - I like the tone, the feel and that they are softer then the frets!

I've posted elsewhere about this - some strings suit some basses better than others. Through trial and error I've ended up with Ernie Ball Regular Slinkies on my main Yamaha 5-string, D'addario NYXL on my 5-string fretless and NYXL on my main 4-string Jazz too. The Yamaha doesn't suit NYXL for some reason.

They have one of the finest T-shirt designs ever. The singer/guitarist is an old mate.

The early Japanese squiers are really good AFAIK

I can only echo - a truly great move by the shop and profoundly sad news about the OP. This bass needs to go to a good home where someone will appreciate its history.

Edit - double post fail. I shall add an irrelevant quote. "Don't believe everything you read on the internet" Abraham Lincoln

I saw them live recently. They were great! Guess which song they saved to the end?

@Grimalkin I know you like to prove a point in here. I'm not going to get sucked into debating with you as it is a pointless waste of time. The OP has stated that he plays by ear. I play by ear. Whether you think that is correct or not is irrelevant to me.

How do you suppose all the many players of unlined bass guitars and upright bass players have managed for so long? The guys in that video aren't looking at their fingers half the time!

Also - to answer the OP. I would not put frets on this lovely bass, I would either find a replacement neck or just use a different bass.

Apologies. Pino. The concept is the same - the intonation is adjusted to where the player feels comfortable, not where the eyes say it should be. I've tried compensating for the angles you look down at the strings at, i also tried compensating for my own poor technique. The upshot is that regardless of how the intonation is set you play by ear and adjust very quickly to any difference (as one should on a fretless)

That depends where you put your fingers. It's a fretless... You seem to be failing to grasp a simple concept - exactly the concept that Jaco employed in your quote.

So by that logic, this bass may well be intonated where the OP wants it. I've experimented with various different ways of intonating a fretless, all have their merits. It may look wrong to you, but that doesn't make it wrong.

Really interesting 👍

Very little to add as I haven't played in a tribute, except to say that in my experience of sound systems; having someone who knows the band well doing FOH is a good move.

Agreed