tauzero

But who on earth would want to buy a Fender?

I use Rean as well as full-fat Neutrik. In fact, making up a cable to go from bass to a Line 6 G50 bodypack, I had to use a Rean at the bodypack end, and the switched jacks I've used (without problems) have been Rean too as they're a third the price of the Neutrik ones.

In 1987, when I bought my Warwick JD Thumb, there simply wasn't another bass around that was anywhere near as playable - for me, anyway, these things are subjective. So it wasn't a question of diminishing returns but of being able to get what cheaper basses were completely unable to provide.

I generally make my own jack to jack (Van Damme/Neutrik) and buy XLR cables. I've used Lynx Cables on Ebay a few times, they're good.

This was lined fretless vs fretted - I'm pretty sure @Hellzero was joking as the slots would still go in the same place and be the same width, as would the fret marker dots. They don't offer an unlined fretless on the price list so presumably they couldn't even be bothered to take the fretboard out halfway through and put the fret markers elsewhere.

Indeed, you'd think manufacturers would be capable of not putting frets into all of their range. I must say though that Fodera take the biscuit (and it should be a soggy one) for charging $500 extra for a lined fretless - so instead of pushing 24 frets in, trimming, levelling, crowning, and polishing them, they just glue strips of veneer in the slots and sand them down, and charge extra for it.

Could be lemming oil. "Twist of lemming?"

Good grief, he even says that mineral oil has a pH of 7 in the same thread as he's saying that it excludes water. Has the man no shame (or scientific understanding)?

It works well on guitar. On bass, it's more tricky because it's smaller than the gap between three strings but it does work. Because it's smaller than that gap, I think it would be possible to 3D-print a collar which would provide a wider baseplate. Something to look into at some point.

Somebody pointed this one out in the Ebay section. After due consideration (which took several days), I decided to have it. Passive, coil-tapped pickups. Controls are pickup selector switch (bridge, both, neck) and two volumes, each with a pull pot which gives the coil tap. The cover at the body end hides the truss rod access, which I haven't delved into. Strings are standard single ball ends with a clamp at the nut end and I think an ETS bridge and tuner system. Although it's 36" scale which gave me a little trepidation, it's easy to play with quite a shallow neck. String spacing is adjustable and currently set to 17.5mm. Fretboard is flat (unradiused). Rather a nice touch - the fret markers cascade across the fretboard. The sound is quite impressive, the coil taps are effective. Appearance-wise, the lines are (to my eye anyway) quite flowing, with an asymmetry that works well. I may adjust the string spacing, not sure about that. I do need to replace the strap pegs with Boston Schaller-compatibles (cue the straplock war).

Should I say something derogatory about Prince too, just to guarantee it?

General construction - neck-through, headless in the case of most of the Seis. Glued on fingerboards - that's not Leo Fender, that's centuries before him. In fact, none of your list applies. I do get tired of those who insist that Leo Fender was god.

I haven't explored other brands but this caught my eye and my wallet. I've bought the TC version of the Ebow to see how it goes.

The only thing that I can think of with my favourite brands (Warwick, Sei, Antoniotsai) is a 34" scale length.

So why do successful bands and artists completely change their sound, when their audiences like what they currently hear? Your example of Pink Floyd is very poor in that respect, they didn't suddenly go from Piper to Dark Side, there was an evolution where they took their audience with them.

I'd like to know how you can consider your audience when you don't know what your audience likes. If the current audience doesn't like your next outpouring, then a new audience that does like it can take over. After all, Mrs Zero likes "The Division Bell".

But you need the correct sort of muting for 4'33". That's where a compressor is invaluable.

Sei and Warwick (three Seis, four Warwicks). And Antoniotsai (five basses) but he's not doing the stuff he used to. Barefaced to a degree but I don't need cabs at the moment. BB2 now sold, still have a One10 in the rehearsal room. Zoom - MS-50G, SM-60B, MS-70CDR, B3, B3n. Line 6 - Variax 300, JTV-59, Variax 700 acoustic, Variax 705 bass, G50 wireless.

Should be feasible - you'd need a step-down buck converter to power the Miditech box if you didn't want to run two power supplies to it. If you want to get a bit more complex, with an Arduino and a bit of patience, plus a further control or two, you could make it able to play chords as well as single notes. I notice there's also https://www.thomann.de/gb/doepfer_mbp25_frontplatte.htm but not sure about the button tops.

Funnily enough, I've realised exactly the same thing about a 5-string fretless.

She should have invited Donald Trump. Allegedly.

"When I said to use a P, I meant the bass..."

And with a really gorgeous wife/car?

For a lead amp, you can't beat Trace Elliot, although they may use depleted uranium instead of lead.

Someone seems to have nicked two of his strings, and his frets. Saying that, the documentation is also for a four-string guitar. That's one less than Keef.