tauzero

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.

I'll let you all know how it goes.

Somebody liked it enough to buy it.

Whichever bass I fancy using that day. Normally the fretless Sei 5-string but not always. Same combo as it's very very lightweight.

Behringer products are hand-made in Germany? Who'd have thought it?

My old club band was rather further down the food chain than the Stray Cats, but we didn't soundcheck either. Guitarist/singer did the vocal-only PA, which was already at the right level for the drummer, and I adjusted if necessary in the first song. Conversely, we recently supported our percussionist's band. "They never soundcheck", he told us. One hour soundcheck, after which the bass was overwhelming and the PA sounded more muffled than a Precision with flats going through an Ashdown.

Not sure if it applies to all early Warwicks, but the JD Thumb had a very shallow neck - I think that was a general early Warwick thing. In contrast, the Spector neck is quite chunky. I could never get on with a Spector neck, otherwise I'd have had one as they're very nice basses.

Don't forget, the answer is always "new bass". You don't have to get rid of the old one though.

We sometimes play "Relax" for a soundcheck number, and I have been known to go to the bar and buy a pint while playing along to it.

I would make a wild speculative guess that the people voting on this have largely ignored the mix (apart from the Newsted one, and maybe the last Flea one) and listened to the isolated tracks. In which case, they didn't listen to any Yes.

I was in a prog rock covers band that sadly never got past rehearsals. There were some excellent songs that I would have loved to do. And we did the best cover version of "I know what I like in your wardrobe" that I've heard. Favourites among them: Back street luv - Curved Air Don't fear the reaper - Blue Oyster Cult In a broken dream - Python Lee Jackson Nights in white satin - Moody Blues ("our song" for Mrs Zero and me) Solsbury Hill - Peter Gabriel Sylvia - Focus Tomorrow night - Atomic Rooster Silent Running - Mike & the Mechanics (bassline only slightly more complex than Waterfront but a great song)

That explains it then, I don't think I went past page 1. <makes note to look further down in future>

I used to play with a ceilidh band. For some reason on one occasion we'd swapped to using my PA - we normally used the dulcimer player's, who was married to the melodeon player. The melodeon was always a nightmare as it was very liable to feedback. I could hear it OK, and it appeared that the guitarist and dulcimer player also could, but at the end of the set with the mics still live and a face like fury she bellowed "I couldn't hear myself in the f*cking monitors!". Mrs Zero (who was the caller) and I eventually left the band - it was a good band but it was getting too stressful with the seriously mardy melodeon player. I'm not sure why people think eye contact is so important. The only time I make eye contact is with the keyboard player when the singer/guitarist goes off-piste and we exchange glances (all in good humour). Ear contact is useful though, as is playing all the right notes in the right order.