tauzero

You would have to worry about getting your hand round the neck though. It would be very close to rectangular cross-section. And the torsion isn't lateral so the additional width wouldn't be that helpful.

Something that could be a bit awkward is that the pickups are on the underside of the pickup cover, so the cover isn't optional. A piezo bridge could solve that. Also, the bridge is a simple non-intonatable one.

The description says it's all printed (barring the Al extrusion and hardware). Don't know about the frets (pre-placed slots and hammer in the frets?), and looks as if the nut has a metal rod running across it. Presumably the neck is actually two side fillets which are secured to the extrusion, possibly by having tangs on the fillets which slide onto the extrusion. I would think that a 2020 extrusion backbone would make it even more suitable for a headless build than a headed one as there wouldn't be the tuners hanging off the side of the headstock, all the load would be directly along the backbone and only exerted on it.

That seems a reasonable list of four basses to start with.

I think if I hadn't got another 5-string just after I bought a Squier V (which was P-bodied but J-pickuped, can't remember the name of the model now) then I probably wouldn't have switched. The other one, a Vietnamese Antoniotsai, had an excellent neck which I really got on with - the Squier didn't, and got moved on soon afterwards. the 4-string that these were competing with was a 1987 Warwick Thumb with a very slender neck, the nicest 4-string I've ever played, so any putative 5-string replacement also had to be very playable. Since then, I've bought a couple of Seis which also have really nice necks, and a couple of Ibanezes which are almost as good. The point I am laboriously getting to is that if you are contemplating a move to a 5-string, get one that you find really comfortable to play.

I was recording at one studio, in the control room, which had a lot of electronic equipment in it and the active bass I'd taken was picking up interference. The engineer offered me the studio bass, a Squier P, which would have been fine if I played a 4-string not a 5-string and liked playing basses which would be better suited to firing arrows. So I got my passive bass out and it was fine (I preferred the neck on the active one). An alternative would have been to go into the main studio - in fact, I'd rather have gone out and played on the street than play the studio bass.

I remember some idiot bassist playing an A instead of a C on one track, then, thinking it was done, wandering off with the drummer to get a burger. He came back to find that the guitarist had cunningly played an Am rather than a C major to cover it up. Yes folks, I was that bassist. Another band went in to a studio that was in its embryonic stages, in a big house in Lichfield that belonged to the studio engineer/producer's parents. We asked for a four-way mains extension (yes, we should have been a bit better prepared) and said engineer gave us a 4-way that didn't have a cable and then a mains plug attached to a lead which had another mains plug at the other end, so one plug could be plugged into the 4-way and the other end into the wall. I flat out refused to touch the plug to plug lead.

You could see if he'd post this one: https://reverb.com/uk/item/76002235-tecamp-puma-350w-bass-amp-head-2000-s Or there's https://www.bassdirect.co.uk/product/warwick-gnome-i-pro-600/ Any bass amp should cope with a 5-string, it's the speaker that's the limiting factor. And you could use a more powerful amp, I use my Tecamp Puma 900 with the BC house jam micro cab (100W).

I forgot to mention one thing - when I was 21, I got beaten up and the carpal bone for my index finger on my right hand was broken. It healed a little bent, so my right forefinger is a little shorter than it should be and at least half a centimetre lower, which means that rapid alternate plucking is a bit impaired.

Or go there, having found it online and decided to check it out in person, and thought "kinell, that's gone up a lot since I looked at the website".

He moved to Tamworth (well, just down the road - Polesworth). At the time, Tamworth had quite a healthy local music scene, and he was kind enough to come and help judge the Battle of the Bands. Very nice chap. https://tamworthbands.co.uk/history/battleofthebands/1986.htm - I was in Caprice at the time.

Why do you think that those of us criticising that particular track are saying that she's crap? I think she was an excellent vocalist, but that her treatment of that particular song was putting technique over conveying the content of the song.

Presumably not Sunshine on a Rainy Day? Maybe Let It Rain?

Er, already there.

Streets and roads Where the streets have no name, Avenues and alleyways, Copper head road, Long and winding road, Penny Lane, Goodbye yellow brick road, Take me home country roads, On the road again, Highway to hell, Road to hell, King of the road, Hit the road Jack.

There wouldn't be a ticket price. If you can't/won't scan a QR code, you just ask an assistant who will be glad to, er, assist. Or, given the levels of service nowadays, be just as likely to say "f*ck off grandpa".

I suppose it's not occurred to anyone to put QR codes on the instruments instead of price tags. The QR codes would simply take you to the web page for the instrument in question.

The interval between sundown and dawn. Nights in white satin, All day and all of the night, Night fever, Dance the night away, One more night, A hard day's night, You shook me all night long, Black night, The night they drove old Dixie down, Saturday night's alright, Rhythm of the night, This flight tonight, All night long, Night boat to Cairo, Boogie nights. That's not to mention Gladys Night and the Pips, or the Barron Knights.

It would appear to be a 1984 reissue. TBH, the best option seems to me to be the one featured at the top of the page - https://walbasshistory.blogspot.com/2015/08/gallery-reissue-pro-bass.html

FTFY.

House of Commons front bench?

Bug fix release is out.

"Since you been gone" by Rainbow is one I consider a great track, largely because of the guitar soloes where you feel every note has been carefully planned. While I won't deny Whitney Houston's vocal ability, ISTM that her version of IWALY is done more to showcase her melismatics than to convey the emotion of the lyrics (see also Alexandra Burke's "Hallelujah").

My actual needs dictate two basses, a fretted and fretless 5. But I have to keep my two 4-string Thumbs (fretted and fretless) for sentimental reasons, and the Antoniotsais because they're so unusual, and a couple of six-string basses (fretted and fretless) as my luxury items, and a 10-string for the odd occasions when I might need that sound, and a couple of showy ones for stage use. Oh, and acoustic fretted and fretless, and solid body and hollow body uke basses, and an EUB. And of course despite the fact that headstocks are the work of Stan*, there is a wider range of headed basses than headless ones, so where I can I have headless equivalents as well. * Stan Fender, the idiot son of Leo, who decided that a heavy lump of wood on the end of the neck would be ideal to put the word "Fender" on and designed it so badly that it needed a bodge to give the strings a decent break angle.

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