Wolverinebass

[quote name='tauzero' timestamp='1428713491' post='2744077'] Just to put Fodera's bass pricing in perspective: I have just acquired a Warwick Buzzard via this very site. I realised when I got it home that I hadn't entirely thought it through, as I didn't have a suitable stand (I do have wall hangers, but I might be looked on askance if I took a wall to a gig) and the Hercules grab stand is marginally too short. So I gwgled, and found a chap who hand-makes a stand for Buzzards and similarly wonky and long instruments (Explorers and Alembic Dragonwings for example). I emailed him to ask the price of his stands (steel tubing tripod, two legs forward and one back, neck holder like a Stagg stand) and was slightly surprised to find that they were $599 plus $100 shipping. That is the correct number of 9s after the 5. So, buy one of his stands for $699 plus whatever HMRC wants to extract from me, or buy a Hercules stand and a lump of wood a couple of inches thick to stand it on. Call me a philistine who doesn't appreciate craftsmanship, but I've just ordered a Hercules stand. [/quote] Yeah, I know exactly who you mean. I was of the same opinion Which kind of resembles "get lost." Not that I'd put my buzzard on a stand anywhere except my own studio so it was a moot point anyway. As for the whole point of the thread. If I had the money and felt a bass was worth it, I'd get it. On the other hand, I feel that nothing should really cost more than £6k. After that I just don't know quite what esoteric features you're paying for. I have played a Fodera and whilst it was very nice, I thought it wasn't for me soundwise. Not that I had ever really entertained the notion of buying one before. I just wanted to see what the fuss was about.

[quote name='cameltoe' timestamp='1426881010' post='2723165'] I've had the frets levelled on on every bass I've had to get the action as low as possible. I also like minimal relief, almost a straight neck, so the action is close to the same across the whole neck. There is nothing I hate more than a bass with increasing action the closer you get to the bridge- as soon as you get up to fret 10 or so the action is double what it was on fret 3 or 4. [/quote] I agree with this totally. My 12 has the problem you describe though it's not too high until the 15th fret. I seriously need to get a new nut made as the nut end is amazingly low. Thankfully all the rest of my basses are less than 1mm at the 12th fret. Sod digging in. I'd like my hands to work properly in 20 years.

[quote name='disssa' timestamp='1426244774' post='2716035'] My Trace Elliots: [/quote] That's just obscene!! Love it.

That's the 212.

I have an Italian one and it's 15kg. Unless they've changed the spec for the new ones it only has one handle on the right hand side.

I'd never been before. Really enjoyed it. I saw that harvest red bag. My mate pointed it out to me and drooled. I said "yeah, that does look great if you want a gig bag that looks like a fire engine." Enough said really. I very nearly bought an Enfield Black Raven. Nearly. Had it not been finished in satin things could have went very differently. Luckily enough it was enough for me to "step away from the vehicle...." Still, Martin was a very nice guy and I enjoyed chatting to him. Also had a chat with the lady on Enfield stand (I'm presuming it was Martin's wife?) she asked what I thought. I said I thought they should charge more. That bass had the nicest neck profile I've ever played. Perfect in all honesty. For me at least. I didn't see very many basschatters actually only going on the Sunday. Was good to catch up with Bluejay again (thanks for the lanyard!!) and I did notice Dood floating about, but since I've never met him I didn't want to pop over just as I knew who he is. As it turned out I just grabbed a Harvest strap and a few leads. When I got home I related to Mrs Wolverine that I was this close (holds up fingers an inch apart) to buying a bass for 2 grand. She thought it was hilariously silly, but such is the atmosphere around the show I guess. Leave your cards at home please. I am sad that I didn't see ACG as I'd have really liked to have met Alan. One of the most hilarious things happened just as I was leaving. My mate didn't like Stu Hamm's performance. Really hated it and I mentioned that regardless of whether you liked it or not, there's always something useful to be learned from it. So we're waiting at the lift and my mate is still saying how much he thought it was awful cringeworthingly self indulgent. Stu Hamm walks up behind him just he's finished speaking to wait for the lift. He hasn't heard what's been said. I thought I might die it was so funny especially as I pointed out to my friend he was behind him. Nobody really believes that when folk say it do they? When my friend realised what had happened as we got into the lift he was of course somewhat embarrassed. Properly silly. I didn't think I'd like Lee Rocker, but he was very good. My mate loved Billy Sheehan though he'd never heard of him before I said we should see him. A top day out though I did think there would be more stands. Not that it matters. All good fun.

[quote name='blue' timestamp='1425850971' post='2711517'] My response would be; [i]Cool, do you have paying gigs booked?[/i] Blue [/quote] Genius. I love it.

The psa is better. I've used one for 5 years and it's brilliant.

[quote name='bassmayhem' timestamp='1419512318' post='2640523'] My new H115 cabs, one with horn one without. 14 kg a piece... [/quote] Those look like very rich chocolate. Lovely.

[quote name='Oopsdabassist' timestamp='1416386607' post='2609554'] A clock theme on the pickguard [URL=http://s1107.photobucket.com/user/Mkul0/media/pickguard_zps80e980bb.jpg.html][IMG]http://i1107.photobucket.com/albums/h391/Mkul0/pickguard_zps80e980bb.jpg[/IMG][/URL] [/quote] Where did you get that?! That's fantastic!

[quote name='tks.se' timestamp='1418919739' post='2634878'] Glad to hear you like them, but sorry, no plans on either. Is the EAD equipped with a 6"? Trying to recall seeing a picture of something like that. That kind of design (if executed in a good way) has a lot of benefits, and can be found in the S2126 and 2126, which might see quite similar if you only look at the speaker sizes, but do things a bit differently. The S2126 being louder and the 2126 extending further down in the low frequencies as well as having more top end and slightly better mid range dispersion, also being able to handle more power. [/quote] That's a pity. I would have really liked a 4x12. The EAD has a 6.5" driver. http://www.extendedaudiodesign.co.uk/ However, these aren't made any more. My main query is that whatever cabs should be able to handle the treble content of a 12 string (triple coursed bass). My Markbass cabs are okay, but I think I can do better in the top end response due to the piezo tweeters. It's fine for a 4 string, but my 12 is a bit hit/miss. Would the mid range driver be better?

[quote name='bassmayhem' timestamp='1417473689' post='2620868'] A little porn with some British flavour... [IMG]http://i225.photobucket.com/albums/dd169/bassmayhem/A20140613_180357_zpsa91f98e5.jpg[/IMG] My two 2126 with my now sold TE AH1000-12... [/quote] That looks fantastic. Just for the records, is the 6 driver attenuable like the optional tweeter? Just I don't see many back panel photos going on.

[quote name='VTypeV4' timestamp='1417489508' post='2620960'] A comment on previous page about 'you're sticking a mic on this' would go down like lead balloon with me (and most engineers -good and bad- that I know) because it's not always the best option. Does the musicain know and understand the room? Do they know what the system is capable of? Do they know how to mix their own group? Probably a 'no' on all counts so being so arrogant as to assume they know best simply shows the short sightedness of some and the root of many problem. [/quote] A perfectly reasonable point. However, from my own experience, I'll ask what the situation is and will always be met with a "DI before amp" reply which will be repeated ad infinitum regardless of what's happening/size of venue/size of stage/number of band members/style of music. It's infallable. If I'm playing a 4 string in a clean sound I'll go as far as to taking a post EQ DI and generally that sounds fine, but anything with delays or modulations then that's not always possible nor does it quite sound right all the time. One engineer once tried to say to me (this isn't made up - really!!) "If you give me your effects I'll run it into the desk once I have your bass DI." Meaning, he'd control my Pod from the desk. Really? I was amazed, but then again maybe he was a mind reader. This has been great fun when I went through a particular phase of using the bass more like a synth with all sorts of effects going on to try and explain why I didn't want a DI. If I'm using a 12 or an 8 the cab has to be mic'd as I'm using crossovers and signal splitting to get a sound with the lows clean and the treble distorted a bit as an example. Generally from experience the post fx DI doesn't sound as good, but it depends. I enjoyed using a pod when the engineer knew how to plug it in but mostly I got the "I'm not putting that through the PA, it'll blow it up with that - give me your DI. We don't put bass straight into the PA" nonsense I described earlier. On the other hand when they started doing frequency pans on me/muting my playing in the stage monitors that was when I realised getting an amp was probably a bit better for my sanity as at least I'd get to hear myself.

[quote name='Lozz196' timestamp='1417265374' post='2618686'] And how the hell do you make a Stingray a muddy mushy mess - prizes for achieving the virtually unachievable there I reckon. [/quote] Easy. Same way as you make any bass, good or bad sound like a piece of crap. Just Low pass everything under 400Hz cutting all the mids and treble. That's the standard soundman context I've encountered. Ever heard an Alembic reduced to a "blurruurrp" when it should be twang galore with the filters wide open? I could have played a plank of mdf for all the difference it's made on certain evenings. [quote name='spacey' timestamp='1417468853' post='2620746'] Bass players have had their bollox cut off by sound engineers to make it easy for sound engineers. Just DI the bass straight in the desk, where there is no compression and very poor limited EQ. All that drive and warmth you spent years creating as your sound is gone from your showcase of the big gig. If they tried this with guitarists they would be a riot, it is our own fault, make them mic up the amp, insist, demand to have your sound, compare it, get on his back until its done and they might just start to take us seriously. Same in studios, just DI and we will use the warbilater to cut all the mid and you out of the mix, again those yesteryear iconic sounds were mic up cabs. DI has its place, but getting your sound to be replicated elsewhere is never going to happen with a bass DI straight in to a desk. Make them go fetch a mic, just like they have to for the guitar. [/quote] Sound guys are generally idiots to bass players. In 15 years of gigging in London I've come across 3 good ones that respected the sound I wanted to achieve and why I needed to use it to be heard in the mix of the band. The rest? Not so much shall we say. The most hilarious one was playing the Water Rats where I ended up having to play through an Ashdown Perfect Ten which the engineer refused to mic ("The bass will spill all over the stage if I do that" - total crap, the previous band had 2 guitarists both using 4x12's!!) nor did he let me use my pod into the pa. Naturally because I became irritated, he deliberately cut the bass into the monitors to mess me up so I couldn't hear myself at all. All this DI before the amp stuff? Er, no. You're mic'ing the cab sunshine. I take no crap with this these days as I play to enjoy myself not to subsidise the fact that some muppet is deliberately screwing with me because he doesn't have a clue how to mix a band properly.

[quote name='Lozz196' timestamp='1417265374' post='2618686'] And how the hell do you make a Stingray a muddy mushy mess - prizes for achieving the virtually unachievable there I reckon. [/quote] Easy. Same way as you make any bass, good or bad sound like a piece of crap. Just Low pass everything under 400Hz cutting all the mids and treble. That's the standard soundman context I've encountered. Ever heard an Alembic reduced to a "blurruurrp" when it should be twang galore with the filters wide open? I could have played a plank of mdf for all the difference it's made on certain evenings. [quote name='spacey' timestamp='1417468853' post='2620746'] Bass players have had their bollox cut off by sound engineers to make it easy for sound engineers. Just DI the bass straight in the desk, where there is no compression and very poor limited EQ. All that drive and warmth you spent years creating as your sound is gone from your showcase of the big gig. If they tried this with guitarists they would be a riot, it is our own fault, make them mic up the amp, insist, demand to have your sound, compare it, get on his back until its done and they might just start to take us seriously. Same in studios, just DI and we will use the warbilater to cut all the mid and you out of the mix, again those yesteryear iconic sounds were mic up cabs. DI has its place, but getting your sound to be replicated elsewhere is never going to happen with a bass DI straight in to a desk. Make them go fetch a mic, just like they have to for the guitar. [/quote] Sound guys are generally idiots to bass players. In 15 years of gigging in London I've come across 3 good ones that respected the sound I wanted to achieve and why I needed to use it to be heard in the mix of the band. The rest? Not so much shall we say. The most hilarious one was playing the Water Rats where I ended up having to play through an Ashdown Perfect Ten which the engineer refused to mic ("The bass will spill all over the stage if I do that" - total crap, the previous band had 2 guitarists both using 4x12's!!) nor did he let me use my pod into the pa. Naturally because I became irritated, he deliberately cut the bass into the monitors to mess me up so I couldn't hear myself at all. All this DI before the amp stuff? Er, no. You're mic'ing the cab sunshine. I take no crap with this these days as I play to enjoy myself not to subsidise the fact that some muppet is deliberately screwing with me because he doesn't have a clue how to mix a band properly.

[quote name='Lozz196' timestamp='1417265374' post='2618686'] And how the hell do you make a Stingray a muddy mushy mess - prizes for achieving the virtually unachievable there I reckon. [/quote] Easy. Same way as you make any bass, good or bad sound like a piece of crap. Just Low pass everything under 400Hz cutting all the mids and treble. That's the standard soundman context I've encountered. Ever heard an Alembic reduced to a "blurruurrp" when it should be twang galore with the filters wide open? I could have played a plank of mdf for all the difference it's made on certain evenings. [quote name='spacey' timestamp='1417468853' post='2620746'] Bass players have had their bollox cut off by sound engineers to make it easy for sound engineers. Just DI the bass straight in the desk, where there is no compression and very poor limited EQ. All that drive and warmth you spent years creating as your sound is gone from your showcase of the big gig. If they tried this with guitarists they would be a riot, it is our own fault, make them mic up the amp, insist, demand to have your sound, compare it, get on his back until its done and they might just start to take us seriously. Same in studios, just DI and we will use the warbilater to cut all the mid and you out of the mix, again those yesteryear iconic sounds were mic up cabs. DI has its place, but getting your sound to be replicated elsewhere is never going to happen with a bass DI straight in to a desk. Make them go fetch a mic, just like they have to for the guitar. [/quote] Sound guys are generally idiots to bass players. In 15 years of gigging in London I've come across 3 good ones that respected the sound I wanted to achieve and why I needed to use it to be heard in the mix of the band. The rest? Not so much shall we say. The most hilarious one was playing the Water Rats where I ended up having to play through an Ashdown Perfect Ten which the engineer refused to mic ("The bass will spill all over the stage if I do that" - total crap, the previous band had 2 guitarists both using 4x12's!!) nor did he let me use my pod into the pa. Naturally because I became irritated, he deliberately cut the bass into the monitors to mess me up so I couldn't hear myself at all. All this DI before the amp stuff? Er, no. You're mic'ing the cab sunshine. I take no crap with this these days as I play to enjoy myself not to subsidise the fact that some muppet is deliberately screwing with me because he doesn't have a clue how to mix a band properly.

These do look very nice indeed. Is there any chance of either a 4x12 or an 8 ohm 2x12? Especially like the idea of the mid driver and tweeter. Possibly similar to the EAD 2x12 I played at last years South East bash which was really, really good.

I use the newer PK6 with a moog slim phatty and the strymon mobius and timeline pedals. I toyed with the minitaur but I didn't like that the presets weren't that accessible. Plus I wanted an arpeggiator like the Taurus 3. If you want to use the Roland pedals you'll need a sound module as they're only controllers.

[quote name='Geddys nose' timestamp='1411765444' post='2562698'] I always thought someone like Bill Sheehan would be a better choice and someone like Dave Grohl on drums just for his power and aggression, I think Townsend likes his new lead role too much to step back like he did with Moon and JE though. [/quote] Sheehan maybe, possibly even James LoMenzo wouldn't be a bad choice but it'll never happen. Pino not only in sound but technique is just the wrong person and always will be. A great fusion fretless player but just awful for this situation. Pete doesn't want that style back as he's happy with the way things have changed. Pity that by doing that it destroyed all that was great that was left about the band much in the same way that Kenney Jones was the wrong choice to replace Keith Moon. Dave Grohl on drums would be all wrong as he's from the John Bonham school rather than the Keith Moon school. I saw the Who in November 2000 and I'll never see a better gig. Ever. Zak Starkey would have been 35 then. He's now cracking on for 50 and playing drums in the Keith Moon style is somewhat strenuous to say the least. Besides the straightness of the new song in itself doesn't give one much space to work with. The song in itself is crap. Just utter crap. It wouldn't even get on Face Dances which is what it sounds like an off cut from.

[quote name='12stringbassist' timestamp='1408404611' post='2529938'] For many years I pretended that you couldn't buy new strings unless they were on a new bass. [/quote] The irony being is that if you predominantly play 12 string basses that statement is almost true.

[quote name='Lozz196' timestamp='1398975532' post='2439699'] The 70s RI Precision is a great bass, but the neck profile is nothing like either of the actual 70s Precisions I`ve had - much shallower. Going from your post above, your hands seem to prefer a deep profile on the neck, which screams actual 70s basses to me - and as you`ve stated re both Richs Jazz and your mates Precision. Looks like an expensive bass is on your way , make sure you try before you buy if possible, but from what I`ve read above 70s all the way for you. [/quote] Thanks Lozz. I took an hour to pop along to Wunjo's today. Lovely blokes there and just said "I'm looking to try a few precisions, what you got?" So I started at the bottom (in terms of price bracket) and worked up. So here's what I found. Started with the Squier CV in fiesta Red. For £300ish that is a really good bass. They then say that the Mexican basses are a good bit better and the Americans are even better. I'm already salivating. So, I move on to the Fender Standard. Whoooaaaaa!!! Get in!! For £500 that bass kicks some and then a bit more besides. Fantastic. Now, what's next?!!! If this is going to be EVEN BETTER what then?!!!! 50's Roadworn. Okay, that's £900 and I'd say it's not any better. In fact, I'd say soundwise, it sounded more hollow in the mids but still yet more comfortable to play despite having a wider neck. Nevertheless, we move on. American standard. Very, very well put together, but it sounded duller than all the rest. It was strung through body, but it had much more in the low mid area and less top than all the others. Curious that. By this point the guys at Wunjo's probably want to kill me, but nevertheless, they were amazingly polite and lovely towards me. Frankly, I'm buying from them in the future as they deserve my custom. So, as to negative points. All the basses were really good in their own way. The Squier was stupidly cheap for what you got, but maybe the name puts people off. It shouldn't. Possibly the tinted neck might, but not in my case. The Precision Standard was in Cherry Apple Red. What a horrible colour. Truly apocalyptically bad. It also had a satin neck which I hate. But it by far was the best bass of the 4 for me from a soundwise perspective. It was just devastating and if you think the Squier punches above it's weight then this one even more so I feel. The Roadworn was probably the most comfortable though the string spacing at the nut felt odd to me in a way I can't define as the nut width is the same as my Alembic. Nevertheless, a very comfortable and good bass. Are roadworn basses stupid as a concept? Probably, but just my opinion. I guess there must be a market for people that want basses that look like they've come back from a tour of duty in Chechnya, but I'm not one of them really. Lastly the American standard. Curiously though this and the Roadworn both had maple fretboards but were less bright than the other 2 which were rosewood. The American Standard especially so. Odd that. It was quite obvious that it'd been more taken care of in terms of fit and finish, but sadly this didn't come over in the sound and if you played them without looking at the colour, you'd maybe come away thinking that the American and Mexican bass had had the price tags switched around. Curious. I played all 4 of them with the same flat amp setting and tone knob full on. I regarded it as a fair test, but of course my opinion is subjective. I suppose what I have learned from this is that I'm going to sound like me regardless, but I think a nice P bass is on the cards at some point in the near future. That last sentence is words I never thought I'd come out with. Maybe as you said in a different thread Lozz, I've just finally "got it."

[quote name='karlfer' timestamp='1398834974' post='2438002'] You have a load of top quality basses. [/quote] Thanks mate. It's not like you don't have nice basses either!! [quote name='bigjohn' timestamp='1398875914' post='2438571'] You've just got to remember that guitars are made of wood and wood is not a consistent material. Fenders are also hand finished, so again not consistent. There's not a whole heap of difference between MIM and MIA other than the hardware and how much time is spent finishing each bass.They use the same woods. That said, there are FSR (factory special runs) MIMs that may have had more attention paid to their build than US Standards. MIJ is completely different kettle of fish. Different woods, different factories. Though their non-export models tend to be more like the FSRs in that they're made in shorter runs, better spec and build. Squier again is completely different, with cheaper woods and hardware and different production techniques. So... due to the inconsistencies present, even though these things are mass produced and that what's "better" or "worse" about each is entirely subjective, it's perfectly possible that a particular Squier guitar could be considered by the majority (if doing their best to be objective) to be "better" than a particular MIA. It's just that the odds are stacked against that being likely for each individual guitar. I have an MIM, a MIJ and an MIA bass. They're all as good as each other in their different ways. Though my MIJ is a real beauty and my MIM is the best MIM I've come across. So all depends what you think is value. And if you, for the sake of saving a few hundred quid (esp considering if you by 2nd hand, you're not actually losing "money") want to go though the likely process of buying a few MIMs in the hope of finding a really good one you like. Likewise, you might buy an MIA and find you don't... but in general, you're more likely to enjoy (if you prefer well built, finished and nice sounding basses) luck finding a good bass that's either MIA or MIJ. That, apart from their cost as new, is mostly why they hold their 2nd hand prices. Like... The Warmoth stuff is really good quality and consistent. The Mighty Mite stuff is good, and consistent, but not properly hand finished like Warmoth parts. They're not in the same league (or market) in that regard. All Parts I've not used, neither have I WD. [/quote] I note that a few of you say that "above x price point it doesn't make any difference." What might that be? £500? £700? £900? I'm curious. I was looking at the Classic 70s RI in Olympic white which I note is cheekily £60 more expensive than the same model in sunburst. Really?!! It's a colour!! A standard colour!! I also note that on Fender's website they're the same price, why the difference over here? Anyone got one? Any good? For years I thought most Fenders were awful as the ones I tried were just that. I couldn't find anything I liked though to be fair I was after a much more cutting sound. The worst was jazz basses and the horrid neck profile. However, at last year's bass bash I tried Fat Rich's 72 Jazz. Get in!! Brilliant. Then by happenstance a friend of mine asked to borrow my Alembic for an important gig. I said yes as friends do on the condition that I could borrow his precision from 1980. I was great so I kind of felt like the clock had been re-set so to speak in my views which I thought were concrete have become.... less so. Hence why I'd like a really nice precision, preferably with a maple fretboard. Why are blocks not a proper option except on one model? If the point of Fender basses is that everything is replaceable, why not offer everything as one big custom shop? Thank you all for the advice.

Not being a Fender expert myself and noting that price of them are going up somewhat, I wondered what would people get if they wanted the best Precision (I'm talking in terms of playability and fit and finish) choosing say from the following: Fender USA Fender MIM Warmoth Squire WD Allparts Mighty Mite I'm very intrigued being that say a Duff McKagan is now £900 for a MIM and the QC has been noted to be lacking (allegedly) and beforehand they were MIJ. I wondered how much discernible difference there actually is? Other than Fender using cheaper labour and putting the price up slightly. Is a Squire really a cheap slab of basswood that should be burned or are they very much value for money and a lot closer to a Fender USA than the price difference would have you believe? Are Fender USA models ridiculously overpriced? Do MIM have dodgy QC? I ask this not to be inflammatory in any way, but just for curiosity as I may grab a precision in the near future.

[quote name='Meddle' timestamp='1397599495' post='2425630'] A unique technique for sure. I've experimented with it at various times out of curiosity. The key is to lower the action so low that conventional fingerstyle technique sounds terrible, but you can dab the strings down near the end of the neck and 'ping' out the notes you desire. It is relatively easy to get speed up this way, especially if you have good finger strenth from conventional playing styles. You then have to use enough distortion to turn the fret buzz into musical harmonic content. A compressor helps as well, but I would personally keep the chorus and flanger pedals [s]in the bin[/s] away from your rig. I don't like playing that way at all, but it does work if you are patient. I admire John for being unique, and for carving out a unique voice on the instrument, far beyond how much I admire him as a musician, sadly. Rather like Ray Manzarek of The Doors (RIP), he does enough to sound flashy, but not enough to stand up to scrutiny, personally. That tuition video really highlights this, as he struggles to explain away a lot of his technique. How much of the content of that video is actually useful? Again, hats of to him for experimenting with treble, roundwounds and distortion at a time when nobody wanted to know. I am a big fan of The Who, but I prefer the band as a musical unit far beyond my personal like of any of the individual members (I just finished Pete's autobiography as well). [/quote] With respect, that isn't really true in part. If you have a bass which you can set the action suicidally low and have a light touch for fingerstyle, it will be fine. As long as you don't play even mediumly hard, there will be very little tone difference. As long as you don't overdo the chorus, it works fine for typewriter. You are quite right about flanging though. It sounds awful with tapping in this method. Yuck.... Isn't it obvious why he doesn't explain his technique? It's because it's all showing off!! He knows this, you know this. Nobody plays bass like that if they want to be a backup man. Obviously, he can't really say that on a mainstream production as (heaven forbid!!) a bass player doing more lead work than the guitarist is always wrong. Apparently. I suppose it depends what you define as "useful." If you're looking to check something out and steal a few bits of technique then yeah it is. If you're looking for a tick box of where something can be used in, well, it is total pants. I always took it as being down to the individual's imagination. I never had any problem retroactively going through songs I play to use it. It's just such a pity that my favourite members of The Who are both dead.

Don't do it. If that bass isn't worth the sacrifice of having no money for a while then it's just pointless. In my own case I bought ALL my basses for cash with the exception of the buzzard. That was thanks to the legal malarkey with the design, so although I'd saved about half of the cash, I got a quick loan from my father in law and lived on baked beans for 8 months whilst I paid him back. I don't regret it for a minute, but if I'd not liked the bass, nothing would have been worth the sacrifice as I couldn't do anything that cost money.