itu

Of course tools can be used in advance, while playing, and afterwards. I love those tools (although my understanding is still modest). I can play moderately several styles from old music to jazz standards, to Motown. I can read notes and chords, I can listen, transcribe, and even understand compositional choices to some extent. Theory is one big set of tools, that help you and me to play. Without my limited tool set I'd be even worse, and as said, I am not very good. Root and fifth, two beat, four beat, some walking etc. There are and there has been masters who play anything, but not me. I need support. All theoretical understanding that I've learned, has opened up possibilities, and new, interesting territories. Why wouldn't you try something special, and understand why modal jazz sounds like it sounds, what is Schönberg doing with 12 notes, what is a chord progression, or a cadence? You may not need theory, and that's fine. I do.

Analyze is the first word that comes to my mind. Analyze scores, playing, chords, scales...

Bassists... I've seen some other instrument players that know exactly how and what a bassist should play, and some even say how should we look. Go that way and nobody likes you. Take your own path following your passion, and work hard. Someone finds your flourishing stuff, and finds it enchanting. Keep up the good work.

Victor Bailey played a lot of that link's koa Pensa-Suhr. My modest understanding of Pensa-Suhr is limited to a single bass, although it nearly got me playing a J. It was better than any Sadowsky I have tried. Maybe a (Tom) Stenback could be an interesting alternative but their waiting list is far too long. https://www.notreble.com/buzz/2017/04/28/victor-baileys-basses-up-for-auction/

I think Baloney is taking this a bit too personally. Paco de Lucia learned note reading because McLaughlin and Meola said it is about time. It is true there are top musicians that aren't formally trained. But... I suppose I am mediocre at best. Studies in music schools, lots of training and the ability to read and even write scores has been my edge. Some theory has pushed me far further than I could ever have reached by myself. I remind you that when I learned music, interweb, and youtube were non-existent. Players exchanged copies of scores, and copied LPs, CCs, and later even CDs. Now web is full of scores, lessons, whatever. As said, theory isn't a must, but as the tools are there, why not to use them?

Van Halen - Ice cream man I hear it right away, but not any of those mentioned.

No, it is not necessary to understand theory. It is not necessary to use all musical tools available. And tools do not kill your creativity whatever some try to say. For me those tools have been very important, and have widen my modest understanding of music. Next question could be about reading music...

HB has as bad pots as an MM Stingray. You can use them. If you want a pre, choices are numerous.

There seems to be an FX loop there. Have you tried a cable from send to return? (One of the most common issues with any amp: oxidized comtacts.)

606 was SS, and 303 maybe nickel. Is there a lion hitting the strings, and red colour in the package? Yes, here you go: https://www.rotosound.com/blog/cool_timeline/the-funkmaster/

Yes, my answer was probably not in exact line of your thoughts, let me open it up a bit. I have read a lot about people wandering in the jungle of tunings. That include those close to the basic (B)EADG(C). That D'Addario PDF helps a lot to keep the tension feasible, when changing the tuning and strings. Tune to fifths and you surely need to do a bit of research to find suitable strings of the same tension. (I had an Ashula that I converted to a 5 string, and tuned it to CFBbEbAb. But I was and still am too old to learn it, and sold the bass after reverting it back to original. Piccolo tuning and an octaver! No... it didn't sound or feel fine. If you're happy with your current tuning, keep it that way and learn to use it everywhere. You could also use several tunings - probably on different basses?

Find the old D'Addario string tension guide PDF, and start experimenting. Tune your bass to fifths and widen your reach. Or to double bass solo tuning, or tenor, or BEAD, or whatever.

That probably was rubber paint. It's really paint in the A: just some sunshine (UV), and it becomes sticky. Acetone sure is very aggressive, butter and oil work for many sticky materials but need quite a long time to act.

This was an issue few years back. My understanding of the current situation is that an instrument with an ordinary rosewood is not under CITES. Of course, if you try to use some rare, CITES controlled wood, that's another story. Papers do no harm, but the super strict times should be gone. A much bigger issue is furniture. Many exotic woods are used to tables and chairs, and it seems that their market is in the far east. One tree gives hundreds of fretboards, while a big table, well, you do the maths.

We have here three guys with over 2000 "patterns" to learn and play. Just check @tomread, @ChrisDev, and @TKenrick among other active transcribers. Their work is just fabulous!

£1500, or £150? Am I missing something? Simple looper pedal is something like tce Ditto. I am using a cheapo Valeton, after a Boss and a tce. It is good for instant feedback of my playing, and contains headphone out, no need for anything else around it. Using it at home, not in band context.

The former is G D A E B F twice on a row. This is the system to remember the sharps and flats in front of the scores. # -> . . . . <- b F C G D A E B

Transcribe a score?

I do not understand most of Des'ree's texts, but I like many of her songs.

Quality audio transformer and cheap are contradictory terms. Lars Lundahl is a good one.

Any specific colour looks whatever in the net. Calibrated display, what's that?

Type 85 from Countryman is literally indestructible. Found one years ago used and yes, the cover had dings and dongs, but works as planned. It is now something like +30 years old.