tauzero

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.

No, second harmonic is correct. Third harmonic is three times the frequency, fifth harmonic is five times, etc.

Possibly you're missing the fact that other people may have different opinions to you. Sorry if this shatters any illusions you may have had.

I'm on Facebook and I haven't got a clue who did them. MDP?

I've only got B3, B3n, and various MS pedals, and the B1 Four isn't quite like them in control terms - the B3s have more knobs and the MSes have fewer. With the ones I have, for each position in the chain, you can select a category and scroll through the effects in that, or just scroll through all the effects (I think with the B3 you can only scroll through all the effects).

No, I didn't. But I didn't want to make an assumption.