BigRedX

I think the problem is due to the fact that there are supposed to be quite periods during the show, but from what I have read very little is being done to enforce them. Every year the organisers say they are going to do something about it for the next show, and so far every following year at the next show we get the same reports that the quiet periods are being completely ignored. Add to that the fact that it looks as though this year the noise was significantly impinging upon the seminar areas, and you can see why people are getting frustrated and complaining. The exhibitors might say that they need to be able to make a noise in order to properly demonstrate their products, but when any sound you make just becomes part of the overall cacophony how can anyone make any meaningful opinions about the equipment they are trying?

IME this. How much more will very much depend on the impedance of the pickup and values of the tone pot and capacitor you have removed.

What is that? I can't make out the name on the headstock. And what's the string spacing E-E at the bridge and the nut? I'd be interested to know how it sounds. What looks like humbucking pickups in the typical "guitar" positions suggests it is primarily designed as an A-tuned Baritone Guitar rather than a Bass VI.

IMO it would be interesting to see how many like myself were completely unaffected by these three supposedly influential albums. There's nothing on either The Nirvana or RHCP albums that musically excites me (I didn't find them interesting at the time and still don't now) and while I don't think I know anything from that particular Soungarden album, what I've heard from their other albums leads me to suspect that I wouldn't find it enjoyable either. If I had to pick an album that was important to me in 1991 it would be Massive Attack's "Blue Lines", although by far my favourite record of that year was the Blindfold EP by Curve.

Can there be a "none of the above" option please?

It's all very well monitoring them. What needs to happen is that they are enforced. Why is this brought up as a problem every year, yet nothing over than lip-service appears to be done about it?

None of these were for me musically at the time, and the passage of time hasn't made me any more favourable to any of them. I was mostly listening the House and other electronic dance music in 1991.

The band I was in during the 90s went through 4 name changes, 6 singers, 5 guitarists, 2 bass players, 2 keyboard players (as well as line-ups where all the keyboard parts were produced by sequencers), 4 drummers - including one who left the band and rejoined later (and line-ups where the drums were all loops and programmed samples). I was only member in all the line-ups but I started as the bass player and ended up as the guitarist. And just in case you think that sounds like lots of different bands, when last version of the band split in 2002 we were still playing songs written by the original line up back in 1990. We also had recordings originally made and released under one band name/line-up that were re-released under a later band name and promoted with an entirely different line-up preforming them live. The Terrortones had 8 guitarists and 5 drummers during their 6 years of existence. Each of our 4 releases has a different line-up playing on it.

If you want something with Fender Jazz spacing and P-bass type clank you should buy a Fender Precision with a Jazz neck. These other basses exist because they offer something different in feel and sound.

It's hardly a new phenomenon, by the time The pretty Things made their 1970 album "Parachute" singer Phil May was only member left from the original line up.

Looks like just another J-bass copy to me. What makes it special/different to all the other J-basses?

I thought hipsters wanted everything to be "authentic". Therefore they would be paying by cash - probably in groats or guineas.

There was a time (about 20 years ago) when I would practice the set at least once every day I wasn't actually rehearsing or gigging. At that time the band I was in was also using a lot of high-tech equipment, so the pre-gig routine would normally be to break down everything we needed from the studio where we practiced and pack it all into flight cases. This would normally take a couple of hours on the night before the gig. Then on the day of the gig these flight cases would be loaded into the band van, driven to the venue, unloaded, set up on stage, plugged in, and ready for the sound check. With a bit of luck everything would still be working, and we wouldn't have forgotten anything important (like the floppy disc with all the MIDI files for the sequencer backing). Then after the gig we would have to break everything down and take it back to the studio, where it would be re-assembled for rehearsal the following evening (another 2 hours or so). With everything else going on making sure that I played all the right parts on my instrument was normally the least of my worries. Unsurprisingly I don't miss this in the slightest.

Up to now, Bluetooth has simply not been worth bothering with due to the amount of latency it adds to the signal. What might be acceptable for most consumer uses is probably too great for anyone with timing critical applications. The only way I would risk going the Bluetooth route, is if I knew I could get my money back, no questions asked, if turns out to be unsuitable.

Not really very custom. Yet more P and J clones. There's more to bass guitars than this.

Woolies Special. Cost about £20 back in the 70s and was overpriced at that. People only bought these because they couldn't afford anything better.

I like the first Nouvelle Vague album.

Turn up. Set up your gear. Play. That is all.

Is there enough room on the inside between the base of the unit and any circuit boards for bolts to fit a Mic Stand adaptor? Not a mod you would want to make if your are looking at resale value.

Whatever is available. Ideally direct from the luthier who has just finished making the instrument to my specification.

At least the seller isn't trying to pass it off as a Kramer Duke. As Assassin says the hardware on these is rubbish. They might look like Schaller parts, but are made from much softer metal. Also if you are interested check that it actually has an aluminium neck, some Aliens had wooden necks.

IME anything that isn't inlaid into the neck will come off or move at the least appropriate moment. If you can justify the cost of LEDs get some Luminlay markers. On a bass with a removable neck they are an easy DIY fit, and for set or through neck instruments any decent luthier will do a great job for a little extra outlay.

Also given that the OP hasn't been on Basschat since the end of July we may never know.

AFAICS all the artist mentioned are from an age when recorded music was the end product rather than a promotional item. I doubt you'll find any mainstream acts from the last 10 years that don't play live.

There isn’t much danger of getting a bad cut or pressing these days as vinyl now has to compete with other technically superior formats, so it would be economically unsound for the manufacturers to produce anything sub-standard.