tauzero

Sounds a lot better without all that vocal processing on the official video on page 1 that apparently doesn't exist.

It's sometimes possible to mistake the context, of course.

I wouldn't describe them as dark, as I don't even know what dark means in an aural context. I thought they were somewhat lacking in clarity, a bit woolly. If mine had come with the original Barts in it, I'd have thought about the suggested change to Aguilars, but as it came with the Aguilars already in, that saved making the decision.

Mine too, my fretless Thumb NT started as a fat neck fretted and got slimmed and defretted.

I do believe so. Photos of him in other bands are available (see upthread).

Which would allow comments to be added to each photo featuring him.

Nice. Slim neck or fat?

It doesn't always go right though - sometimes the performers can't hear the backing, with predictable results.

I'm trying to edge the band towards doing songs that people will be familiar with but that covers bands don't often do. It's what a previous band did and that was very well received.

The vocals are in a different key. See also any Smiths song.

Well, I can tell it from the sound my arris makes.

Roger Daltrey could still belt it out pretty well a few years back (haven't seen him recently), although he's dropped into a lower register now. Opera singers, of course, are the pinnacle of vocal accomplishment. Who can forget that most magnificent of them all?

I've got an office chair with swivelling arms, and I just drop the right arm if I feel the need the left arm doesn't get in the way. I just have to remember that it's swivelled down afterwards.

Why would they have made a mirror-image trussrod cover for the sake of flipping the photos for no good reason? It's a right-handed bass as can easily be discerned from the headstock. They've just set the handedness wrong in the description.

If you vacuum it, will it make a sound like an EBow?

It's a good song when Free do it.

SHA is in G. I must admit that for 50 years I've been playing the bit under the solo wrong as I haven't been putting that alternating open A in. Now I can't manage to change to play it correctly - not that anyone notices, they're more likely to notice if I try and play it properly and c0ck it up. And I wouldn't be playing the sodding thing at all if it wasn't that the rest of the band seemed all enthusiastic about it - I'd rather do Wishing Well which, although nearly as hackneyed, is at least more interesting to play.

Too late now, the gig was on Friday.

The absence of truss-rod and the thick neck put me off. If it wasn't for that, I'd have sampled his creations before now.

Looking at the photo of the back of the headstock, the neck laminates appear to be splitting apart. I think £100 is overselling it somewhat although it would probably be a decent fixer-upper.

Not as beautiful as a Sei Flamboyant, but I think they look OK. Well, I bought one, and I wouldn't buy something that I didn't like the look of. In what way are there "so many for sale"? Models? Second-hand?

You said that when you press the strings down at the first fret and also at a higher fret, they touch all the frets in between. That means that there is no relief in the neck. The first step is (as has been said) to increase the relief by slackening off the truss rod. When that is done, you can adjust the bridge saddles. Ignore anyone telling you not to do it. If you can fit the correct sized allen key into a truss rod end and turn it the right way, you can manage this.

TBH it also applies to me, at times I am the superior idiot. Originally I thought of using a switch to isolate the speaker and just having an input socket, but of course that relies on actually switching the switch when required.

https://www.ebay.co.uk/itm/134495940694 The usual high Wishbass quality.