tauzero

Say you were washing your hair and it couldn't have been you at the gig. Maybe you have a doppelganger. Alternatively, talk to the singer and ask if you could still be friends if you were critical of the band. What you do then depends on the answer.

Are there any open mics or jam nights near you? Would be worth exploring if there are. Also, are there any rehearsal studios around by you? They're worth checking out for adverts and putting your own adverts in. Bassists are generally quite in demand, almost as much as drummers.

Very nice. And, fortunately, sold (not to me).

Basic personal hygiene - bath or shower at some point in the day before going to audition. If you're nominally clean-shaven, shave too. And make sure your clothes are clean. From the "auditioning them" point of view, work out whether they're roughly as competent as you. A bit better is fine, it'll pull you up. A little worse should be OK, especially if you can pull them up. On which subject, work out whether criticism can be given and taken if you can.

Even if it's easy to accidentally release them? I don't know whether it is or not, I'd like to find out. Not that I want one, I've found that I prefer parallel-fret basses.

It took a long time because it's headless and they wanted to make up new ways of it being headless rather than using something that's been around for 40 years, like they do with the headed basses? Not sure about those string clamps - how secure are they against accidental release? And what real advantages do they offer over screw clamps for those of us whose time between string changes can be measured in months or years? Headless basses do seem to have regained popularity, which is nice.

Which is why I said you need to know which way to turn the truss rod - I do have a 2000 Thumb but I don't think I've had to adjust the trussrod on it.

Nine Inch Rails, the well-known model railway company.

I forgot to mention the other potential failure mode, in case anything similar happens again - plugging the receiver into the bass and the transmitter into the amp tends also to produce silence.

The guitarist/singer in a former band got very sweary in his intersong patter. Not sure whether the drummer was intending to leave anyway, but he did, and the band broke up - story in the acrimonious band break-ups thread. In another former band, the singer (only a teenager) was very poor at stage patter so we wrote scripts for her. She didn't exactly deliver them fluently, but it was something. I saw another band of teenagers who also had a script. At one point, the singer said "Oh. Our guitarist has broken a string" at which point the guitarist put his still perfectly strung guitar on a stand and picked up his other guitar. Yet another former band had a Scottish guitarist/singer who would do intersong patter in an impenetrable mumble, from which the drummer and I had to try and work out what the next song was ("Hurble wurble wurble hoo hay, ha ha ha"), before the guitarist started and we joined in (no drummer count ins). At least the set list was mostly constant although songs occasionally got omitted.

How can you be very nearly a daughter?

They should try putting out a line of headless basses. It's worked for Ibanez and Cort, and Dingwall are jumping on the bandwagon.

Using Tuffcab?

3. Don't run the bearing over a void.

Triplets.

And yet there are people who don't like headless basses.

Only four strings and doesn't look great for playing seated. Headless and natural wood finish though, so that ticks two of my boxes.

What about the centre pickup? Are the controls for that on the upper bout?

Alternative - have a series of bars the width of the strings (plus a bit) running across between bridge and neck, each having two coils. One coil is for the signal, the other is connected to DC to turn the bar into an electromagnet. Power would be applied through a sliding switch - the wiper would connect a single bus bar to a series of segments, each powering a single coil. For added entertainment, there could be more than one slider - there would need to be a bit at the end of the slider's travel where it wouldn't connect power to any coil, so that either one or two pickups could be suggested. I suspect that to get an adequately powerful electromagnet, the voltage to be applied to the coil would be a bit on the high side, but I'm sure that could be catered for and the simple expedient of playing wearing rubber gloves would be a minor inconvenience when this is considered in the context of the next great advance in pickup technology.

If Leo got it right with the G&L, why did he persist with that stupid overweight and oversized 4 inline/4+1 headstock when better-designed basses are 2+2 or 3+2, or headless? It's reminiscent of Edward Turner when he was brought back to Triumph to design a 350cc twin to compete with the Japanese and persisted with the vertically split crankcases, so there was no centre main bearing and the crankshafts kept breaking. Admittedly not quite as disastrous, but definitely a poor idea.

Have you put this file up before? Went to download it and I already had a copy. Anyroadup, as it's got measurements in groats and cubits, I did a swift edit: Pickup Positions For Many Makes Of Bass - metric & imperial.xlsx

You've been watching Project Binky too then.

At least cut the plate down a bit, like on one of the Variax guitars:

That depends. It certainly takes the EQ part of the preamp out of circuit, but I can't see any point in the pickups being wired to the PCB (as they are) if it's not to put them through buffers. The pickups feed in to the bottom connector, then wires come from the bottom connector to the blend pot. They'd go straight to the blend pot if they were unbuffered.

I've got a Smoothhound, a Line 6 G50, a Harley Benton something, Lekato WS-50s and WS-70s and the M-Vave clone of the WS-70. Almost all my basses are active although none of them are ridiculously high output. Never had a problem with any of them distorting through any of the wirelesses.