tauzero

I just enjoy winding up the fanbois. After all, there's nothing so tedious as a P bass thread until a bit of life is injected into it.

That fewer people are buying them in the first place, because there's so much better available.

So a bass using different materials, with a different body shape, headless, and different controls is what? A variation?

Have you had a listen to the bassline that was put down by the session player? If you can overcome your understandable deflation, see if you can learn from it. Don't give up, try and treat it as motivation to improve. Unless you're Victor Wooten or Sid Vicious, there will always be someone better or worse than you.

Mrs Zero used to work in customer service for Roman Originals, a ladies' clothing retail emporium, which sold some clothing through Amazon. She hated Amazon because if customers returned clothing seriously the worse for wear, Amazon would refund them regardless. However, it was de rigeur to have a presence on Amazon.

I'm pragmatic as well as vaguely principled, so I don't completely exclude Amazon (and my brother-in-law sends us Amazon vouchers as presents). They're not my first port of call, nor indeed my second or third, though I do use them to look at reviews and to find alternatives to products.

I think (but can't be sure) that this is more like the YRG1000 - it detects electrically where the string has been fretted and which string has been played. I'm not sure if this would mean split frets or whether there's something else in play in the Fretsense system.

Wouldn't a genuine Fender one have date stamps on the bottom?

I wouldn't worry about leaving them connected to a charger. However, the WS-50 and WS-90 both have red LEDs on while charging and they go off when charged (just checked mine), and the WS-70 has a series of four green LEDs which light up one by one until all four are lit (the only Lekato manual I can find online).

I rather like the last one but the first one looks like you should be sitting on the Iron Throne to play it, and preferably be an albino monk too.

Why would a non-bassist have one?

I like a hybrid approach so I use a Behringer BCF2000 linked by MIDI to the XR18 and a tablet on my mic stand. I find control of faders a lot easier when they're physical.

I don't need one. HTH.

My headless 5-string Sei Flamboyant has two J pickups in somewhere round J positions. My headless 5-string fretless Sei Original has two soapbars in somewhere round J positions. I wouldn't count either of them as a Jazz, in fact I'd be extremely offended if anyone did.

And plays a double bass drum kit?

FTFY.

I was in one band where the guitarist decided on the songs to be done by the simple expedient of never learning anything that he didn't want to do, and just telling everyone what we were going to do next. He was also an idle shit who never helped carrying anyone else's gear in or out. However, more positively, one band did a few of the hoary old ones, plus some that rather fewer covers bands did but that audiences would be familiar with (Back on the Chain Gang, Brass in Pocket, Because the Night), and, yes, Go your own way and Don't Stop by Fleetwood Mac. The system with that band was that we had a spreadsheet where we listed suggestions and there was a column for each member to vote in, ranging from "definitely yes", through "OK", "not keen", and finally "over my dead body". That seemed to work quite well. The last band before the current one had songs mainly selected by the singer/guitarist that fitted vaguely in a genre - generally 80s, with a bit of early UB40, punk, and David Bowie thrown in, that he could play guitar to (he isn't a great guitarist, as he is the first to admit, but he's a good singist). He'd come to a rehearsal with several suggestions for songs and we'd agree on some of them and take others into consideration. I did put down two vetoes - one preemptive one on "Red Red F*cking Whine" and one after a little consideration on "Dreadlock Holiday". The current band is tending slightly towards the overexposed section of pub covers, with suggestions from everyone and some of those being adopted without fear or favour, though we try to do the better-known ones. "Mr Brightside" got discarded because the singer/guitarist couldn't manage the vocals and guitar, and the second guitarist who does some singing couldn't sing it (and I couldn't either). We'll decide on something to give a try and see if it warrants bringing into the set, and then whether it should be kept in ("Get Lucky" managed one outing and has been permanently dropped, "Don't you forget about me" has had one outing and we decided we needed to do some work on it). One of the two slower numbers has been temporarily withdrawn ("Weather with you"), the other ("Tennessee Whiskey") is the first set closer.

Good luck finding a case for that. And make sure to get some padding on your leg if you're going to play it sitting down.

If you haven't noticed the zillions of times that P basses have been mentioned by fanbois on BC, you haven't been reading it properly.

Fifths rather than fourths, surely? Are you aiming at the same tuning as a cello or an octave down? For the same tuning, you'd start with a D string (0.060" or so) as the C string, G string (0.040") as itself, then what would normally be a C string on a 6 string bass (0.030") as the D string and something like a 0.020" as the A string. If you have a look at https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf you'll see what would be needed to get similar tensions across the four strings.

I use 40-125 on all the 5-strings and 40-100 on the 4-strings. All sounds fine.

Something else to be aware of is that if the B6 is like the B3, it needs a true isolated power supply.

Sadly, a Tecamp Puma 900 is 10.6" wide so it would overhang by 0.00003788 furlongs.

Ah, you mean a gig. Or is that just me?

If I ever go for a W&T, it'll have to be a headless one.