TheLowDown

lol that study has been doing the rounds since 2017, and it doesn't actually suggest that there is any best band member. It just means that timing is best being done by the rhythm section.

I bought a multiscale from them and found their customer service helpful where they've responded to my concerns and feedback. I don't see any reason not to buy from them again.

I love Sire basses but none of those inspire me.

-heavy and bulky FSO headstocks. -heavy basses. -black side dots on light coloured background. -basses that don't have a neck pickup. There are probably other small niggles but they're the main ones.

My target is 3: a lightweight 6 string fretted, 4 string fretted, and either 4 or 6 string fretless.

There's one called Jammates on Google Play.

I used to love guitar solos when I was young, but now find to be too fingers-on-the-blackboard piercing and screechy. Me too.

Depending on your interpretation of heavy/light, the black version of Harley Benton's MB-5 may be what you're looking for.

Sire U5. Harley Benton lined fretless jazz bass (JB40FL)

I don't think I've ever truly regretted buying any gear because there is always something to learn, even if the lesson learnt is that it wasn't right for me. I wouldn't have known otherwise so it's never a waste.

I find it easier when the dots are only in the position of the frets(3, 5, 7, 9, 12,...) so I say go for the first option. Less is more because the 2nd option can be too much visual information which can be distracting. If you have minimal but sufficient visual clues, the more you rely on your ears and what you're playing.

People get tribal when it comes to the number of strings they play, as if it's demanding some kind of loyalty to the gang.

You can buy plectrum grips that stick to the plectrum and give it a grippy surface https://www.ebay.co.uk/itm/125599596576 You can also try rubber plectrums.

I'd say Manchester.

I quite often have that momentary feeling like being an observer of what I'm doing/saying in the middle of a conversation, but I've never had that feeling like I'm physically outside of myself as mentioned by the OP. It only lasts seconds.

I think if artists wish to use backing tracks for instruments and/or vocals then they should be free to do so, but they must state clearly on the ticket or otherwise what their setup is so that the paying audience knows what they're getting.

I really quite enjoyed that 👍. Very catchy and singable.

Of course, the P can play a central role such as in a lot of soul and rnb and reggae etc, when the music isn't busy. Sorry if I wasn't clear. With the J I have never been able to put it to any good use, whereas I view the P as more a plug and play bass that is either heard or felt. The bridge pickup may as well not be there, that bright nasal sounding tone that cuts through a busy mix is grating to me. When they are both on full, you're right, it disappears. When the neck pickup is on full and the bridge is off, you get something that tries to be a P but doesn't quite convince.

For me the P bass is the archetypal sound of the bass. The J and Stingray is probably better suited to situations where the bass needs to stand out("cut through") such as in slap based songs or in fusion, whereas the P is probably better suited where the bass is the supporting role. In most rock I would definitely pick the P.

The latest album of Cradle of Filth should get me through the day.

The ones singing in their native non-English language may as well pack up and go home no matter how good they are, at least since year 2000. (graph from The Economist)

Streaming only for me. Less clutter the better, plus my main aim is to try out as much new music as possible.

Not my thing, anything more than a natural wood look is too OTT for me.

I haven't seen many of those.