tauzero

One band I was in did attempt some sort of split based on mileage and the fact that there were two couples and one singleton so there was shared transport. It was a right mess and as some gigs were our way and some gigs were the other way and some equidistant, we just decided it would all even up in the end.

Have you got a flat neck to start with? It sounds like you have a lot of relief in it unless I'm misinterpreting you. Basically, you have two shapes to consider here. There's the section between bridge and the neck fixings furthest away from it (the neck bolts closest to the unheadstock), and the very long thin triangle between those neck fixings and the nut. The height of the bridge at its lowest should correspond with the height of the neck and fretboard (so the strings would rest flat on the fretboard if the bridge height was minimised). The long thin triangle needs to be angled such that the strings would lie flat on the fretboard if you hold them down at the first fret. If you need to work out the thickness of a shim, you can do that by considering the positions of the shim S and the fixings about which the neck will effectively pivot P (the bolts furthest from the bridge if you're putting a shim in at the bridge end to lower the nut end, the bolts closest to the bridge if you're putting a shim in at the other end to raise the nut). Then given the nut position N, the ratio NP:PS is also the ratio of thickness of the shim to the height by which the nut is to move (similar triangles). I think, anyway, my own pure maths O-levels were over 50 years ago.

Would you be able to print the two centre pieces in one print, perhaps by rotating the top right square through 90 degrees clockwise to increase the length of the bottom rail included in that part and moving the bottom right square to the left to minimise the size of the bottom middle?

Those are pretty impressive rescue cats.

They rest on the two strap buttons and you lean them against something solid - a wall, amp, drummer, etc. This is the Seis propped up against the stands that they normally live on.

I've got locking strap buttons on my Seis and they stand up perfectly happily, albeit at a slight slant when the strap is fitted.

Rats, I was in Hay about three weeks ago and didn't realise there was a guitar shop there now. <checks google maps> Bollocks, Mrs Zero wanted to walk through the castle from the car park to Shepherds (ice cream) and Kilverts (pub), and then through the castle back. If we'd walked from or to the alley from the car park, we'd have passed right by it. Oh well.

The instrument I've had the longest is (I think) my Eko Ranger 6, bought new in the early 80s. I'm not entirely sure as I also bought a Roland D10 about that time that I also still have, but this gets used regularly for practice for open mics with Mrs Zero and for songwriting. String ends flying wild and free to make some here get all twitchy. The bass I've owned the longest is a Warwick JD Thumb, bought new in early 1988. I'd gone into Musical Exchanges in Birmingham to try out an octave pedal and they handed me another Warwick, a Streamer IIRC, to try it out. It was rather badly set up so I put it back on the wall and took down this one, and from the first moment I played it I wanted it. Absolute dream of a neck - at the time I had a Fender P and a Hohner B2 and it surpassed both of them by miles, so despite the £950 price tag (which Dave the Bass kindly reduced to £900) I took out a loan for £500 and PXed the Fender and the Hohner to get it. It appeared live on TV when we played in the late early hours on Telethon '90. It still gets occasional outings, and was going to feature in the Marillion tribute that I got dropped from, although since about 2007 I've been 5-string.

One kiloword coming up: Not complicated really.

At last! Status, Sei, and Hohner have bodies which are cut away for the tuner access, with strap buttons either side, enabling you to stand the bass up without bothering about a stand. That might be worth considering.

No longer there, so either sold or Gumtree have been warned.

Performance - no, you just need something with negligible resistance. Durability - probably not, it's the connectors that need to be decent quality. A length of twin core mains cable would do you and would be as durable as something for which you pay rather more.

A 2000 fatneck Warwick Thumb NT from Germany in around 2006. £550 (with hard case), and another £220 to have it defretted and the neck slimmed to JD Thumb proportions.

@KiOgon does assorted Jazz prewired looms.

Solder sucker to desolder the component and clear the hole. Alternatively, put a jeweller's flat-bladed screwdriver under one end of the resistor to apply a little gentle tension and then melt the joint, and repeat for the other end, but if you then have a blocked hole, melt the solder and put minimum pressure on the lead when pushing the right component in to avoid lifting the track off the PCB. Heating up resistors soldering them shouldn't hurt them. I generally populate boards by putting a few components in at a time, soldering them and then snipping the leads. Resistors first, then diodes, then capacitors, followed by IC sockets and then transistors - the lowest profile components go in first so you're not hampered putting them in by taller ones.

Well, quite. Everybody knows that you're only allowed to play root and 5th, with the occasional 3rd and octave if you're really talented and doing walking bass, and bass is only there to fill in the bottom bits and should never be used as a solo instrument.

Probably, when it's working as a DI box and not a power amp it's not passing anywhere near as much current so it won't get warm.

Plain oiled body and veneered pickguard. Go with wood.

Yes, you can either scroll through patches with the footswitch or switch an effect on and off, but not both. See page 11 of the manual which illustrates it, though @MartinB has given a very good description of how to do it.

Not quite...

The others have decided we should have a second Oasis song in the set. My own view is that one Oasis song in the set is at least one too many, but that's democracy for you. The song is Live Forever, which may get treated to a non-original bassline, and it means I've got to play through it at least once to the record, which in turn means listening to that ghastly Mancunian whine, like fingernails on a blackboard.

If the cable was dodgy, the website editor wouldn't work either.

You'd get depressed if you couldn't buy another bass?

Have a look at what's out there, on Joinmyband, Bandmix, Gumtree, Facebook, etc. Avoid the obvious arseholes and see if you can link up with a band wanting to do a similar amount of gigging as you do.

I've just reproduced this by running Tonelib-Zoom with the MS-60B connected, then starting the firmware updater while Tonelib-Zoom is still running. It's because Tonelib-Zoom has reserved the MIDI connections to the MS-60B. Try again without Tonelib-Zoom running.