tauzero

I think (and someone will be along to correct me if I'm wrong) that either a 2-pole or a 4-pole will do as the speaker will be connected to 1+ and 1-, and a jack to speakon lead would also connect to 1+ and 1-. Do get genuine Neutrik plugs though, pattern parts can have incompatibilities that make them difficult to get out of the socket (I haven't had any problems myself but others have).

I'm very tempted to attend, depending on circumstance, and if I do I shall bring the basses that @TheGreek has forced me to buy plus some others.

I find it gets tiring on the fretting hand as you're holding down root, 5th and octave (basically a power chord) for almost the entire song - the outro is the worst part for that. 500 miles - I hate the bloody song so it just gets root notes from me, haven't found any problem with it except for hating it. Walk like an Egyptian - I found it could catch me out now and again. None of us could whistle so I did the whistle solo on kazoo. Have I mentioned that I hate 500 miles?

It's not going to be a huge investment in time or materials, why not give it a whirl and see what comes out? I imagine it would be solid rather than a dense honeycomb as you want it as close to a bone or plastic nut as possible.

Because I find it easier to play the notes that are written than to transcribe on the fly. I'd already learnt it in the original key so writing it in the new key reinforced the fact that it was in the new key and hopefully stopped me straying back to the original key.

Put a capo on the first fret? We're playing Whole Lotta Rosie in the original key which I find quite tricky to get my fingers to work for, so just put a capo on the 4th fret (5-string) and play a string up which makes the fingering just like the original.

That's the mark 1a, the DeArmond/Fender one, as opposed to the mark 1 Guild which had awful banjo tuners.

There's nothing like basing your entire assessment of a manufacturer on a sample of one.

The dogbone Mk 1 (or Mk 1a with proper tuners) or the original Bass Centre reworking?

It would be a bit silly to try to learn a song from the wrong notes. It was so I could have a record of what the right notes were for future reference.

I use the same method as you. There are a couple of threads that I've contributed to that I either don't want to look at again or might want to look at occasionally (eg I've had a couple of glances at the football thread in the last week) and I recognise the thread title and ignore them or look at them. There are plenty I ignore and have never contributed to (eg Wordle). I don't have a problem with doing that - an ignore thread facility would be useful but it's something I can live without.

The Bass Centre have now got their Ashbory bass out - I suppose it would be approximately the Mk 3. https://www.basscentre.com/bass-centre-ashbory-bass/bass-centre-ashbory-bass-natural.html

That seems a little harsh. After all, it has more postings than any other thread, and a reasonable number of followers, and there's no longer Finnbass for us to take refuge in.

That doesn't help when writing down what the notes are. "C+1" isn't conventional notation.

Is there a finalised design yet? I'm sure I'll be able to find a reason that I need this.

Perhaps I should mention that for some reason the guy who made one of my gorgeous headless basses put the truss rod access at the body end. Not spoked wheel but conventional truss rods with hex heads - in fact, two of them. There's a little cover over them. As you can imagine, the groove is fairly long so an allen key can be inserted. So there you are, you could have both spoked wheel truss rod adjustment and the better balance, lighter weight, and greater beauty of a headless.

Yes, that's a bit of a drawback. Have you got a spare set of Ernie Balls that you could offer up to the MS and see if they'd fit?

I did a little duckduckgoing on the subject, and there were a few answers on Quora from orchestral string players. They all said that lefties learnt to play right-handed with very rare exceptions - two of them cited one violinist who played leftie because he was missing a finger on his left hand, Rudolf Kolisch. https://www.quora.com/Do-orchestras-require-all-string-players-to-play-as-if-right-handed-or-do-left-handed-players-have-freedom-to-choose-to-reverse-their-playing-style-if-they-so-desire?share=1 Having once got as far as scraping out Twinkle Twinkle Little Star on violin, I wonder whether left-handers playing right-handed would be at an advantage, as they would have more dexterity in the "fretting" hand, leaving their other hand to bow with sincerity*. *Spot the false equivalence.

You could consider using what Ibanez themselves supply it with. https://www.ibanez.com/usa/products/detail/btb805ms_1p_01.html strings D'Addario® NYXL45130 for 37" string gauge .045/.055/.080/.100MS/.130MS

Do you mean a double-action truss rod, or dual truss rods (ie. two truss rods side by side)?

The manual for the Pedulla 6 fretless that I've just bought says to use nickel strings as stainless are (quote) "too harsh for the fingerboard and will sound terrible". It's not easy finding 6-string nickel roundwound sets with 30-40-60-80-100-125 or 130, but there's a Warwick Red Label set which are perfect, and not in stock at Thomann, but I've ordered them anyway, and a 5-string set or two as well. More news as it comes in.

I was really annoyed when the guitarist/singer/songwriter in a previous band decided that he wanted to take a song up a semitone from C. Playing the notes is easy enough but writing out the chord chart was a right pain. Should one be a stickler and only use sharps (and use E# for F and B# for C) or use flats for some which you don't often encounter sharps (eg. Bb rather than A#)? I think I just adopted the system of learning the bloody song.

Headless conversion.

Difficult to tell when you can't see if the neck joint has 23 screws in it.