tauzero

The Stingray 5 with graphite neck. Or maybe the decapitated Bongo, as long as I wasn't paying for it. There's a couple of 6-string fretlessessses I could be tempted by but I think five strings without frets is sufficient for me.

And licenced Ultralites are £16 apiece but weight 95g, so double the weight of the USA ones. So 250g excess weight in total, or half a groat for the Neanderthals among us.

Cort use Hipshot Ultralites on the GB4/5/94/95 as they're light and cheaper than the Gotohs - https://www.btnmusic.co.uk/product/hipshot-hb6-ultralite-bass-machine-heads/ is a 4-string set but £34.40 for 3/8" Y-key in chrome - around half the price of the Gotoh. I may have made a mistake - for some reason I thought it was for a set of 4, looks like it's for individual ones.

Lado does look like a possibility, although the headstock is wrong, and the horns on Lados generally match - the one @AndyTravis has unearthed has top and bottom horns which both look like flaccid penises, and there are others which have sharp upper and lower horns, but there don't seem to be any with a flaccid penis top horn (well, maybe a semi) and a sharp bottom horn.

EVEN CORRECTER

But then I'd have to cut the headstock off.

It's not a wage price spiral, it's a profit price spiral. Wages wouldn't fall behind prices if there was a wage price spiral, the relationship would stay the same. A major contributor is corporate greed and the unpleasant truth of capitalism.

With that code and some other code that was automatically applied, £96.84. And I'll still be OK for the 2023 gear challenge!

In real terms, my most expensive new bass is the JD Thumb, which cost me £900 in early 1988. It just felt so good, I had to have it. I think nowadays my limit for a mass-produced bass would be around £1000 - I wanted an Ibanez EHB but waited until I could get one secondhand for a tad under rather than buy new. I'd pay more for a one-off luthier-built instrument.

Just got my Kala SUB 5-string off the wall - haven't used it for ages, not since the original tune-up session, as many circumstances changed. All tuned up again. That Batking does look tempting - I prefer fretless for rubber-string basses. Used to have fun with the ceilidh band, taking an EUB (NS WAV-4), Warwick Thumb fretless, and an Ashbory along to gigs, and swapping between them as the fancy took me.

I decide which one I want to sell, then leave it a week, and the feeling passes.

Better leave the decapitation until after the 30 days are up.

The TRS ought to help - one other factor is where the cables run, in moving computers you may have put the cables somewhere where there is a large electromagnetic field. My own experience with a 2i2is that it's connected up to a Behringer mixer using straight TS jack-jack cables and I don't get any crackles. Although this has started me thinking, and as the inputs on the mixer are TRS, I'm going to upgrade.

And, of course, the enlightened ones who play headless basses.

MOD Devices have re-emerged as MOD Audio, and they've just released v1.12 of their software across the three devices (Duo, Duo X, Dwarf). That should be of interest to at least two other people on here.

I've got two Ibanezezez, an SRF705 which uses a barrel jack and an EHB which uses a locking socket (which I plan to de-lock). The barrel jack on the SRF705 is playing up. I had a look at the guts of it, and it looks like the wood is sufficiently thin and there's enough area around the socket to be able to put a skeleton socket in instead. So that's one project for the near future.

Doesn't seem at all upset and embarrassed as they only paid about £50 for it. But they did engage with the posters to the other place, unlike here.

Just experimenting with the Retro Reel modulation effect on the HX Stomp, which seems to do quite a nice job.

Take the finish off and see what the body's like. Go for natural if you can, otherwise paint it.

Didn't Ashley Pangborns have triangular headstocks, rather like SGC Nanyo but a bit more spearhead?

Due to theft?

You don't want to believe everything that Noam Chomsky says.

I think the idea is that you hammer on a note, pull the string across into the groove slot, and pull off, all as rapidly as possible, so that it makes a brief note sort of sound, like a dink, then a sort of clack at a slightly different pitch then a donk at the final pitch. So if your playing consists entirely of dink-clack-donk then this is the invention for you.