BigRedX

Exactly this. Think about all those boutique "scatter-wound" pickups which are prized for their sound, whereas evenly wound pickups from an engineering PoV ought to be better.

IIRC the Enfield graphite necks are made by Simon Farmer of Gus Guitars, so it might be worth asking him.

The only way to be sure is to try it for yourself on your bass.

I didn't say I liked it. Just that it was slightly more pleasing on the ears due to the more tuneful nature.

I always make a point of calling a vibrato rather than tremolo system on both guitars and basses. It would be great to see someone make an actual tremolo device that looks like a vibrato but acts on the volume control on the instrument giving true tremolo!

It's in the video. Is there any actual evidence he played it on the recording?

At least most Brit-Pop songs have a decent tune.

I've got a VIBRATO on both my Bass VIs - Burns Barracuda and Squier Bass VI. However once the over-lightweight gauge strings have been replaced on these the vibrato barely functions anymore as the string tension is now too high.

It depends on whether your time is worth anything or not. Since I became self employed and could actually put a value on my spare time I found that it was more economical to pay for someone else to make up my leads. These days I'd only do it myself if I was making up a lot (20+ in one go) or needed specialised ones that weren't covered by the typical Jack/XLR/Speakon options.

Blimey! That's close. Too close for me. Counting down the days until the Eastwood is actually available.

At least the Born To Rock guitars and basses had useful function (eliminating the need for a truss rod) behind their design.

For me the problem with 90s music wasn't so much the music - although a lot of what was supposed to "alternative" was actually deadly dull and mostly tuneless IMO, but the fact that the bands themselves looked boring. I simply couldn't get enough enthusiasm to check out the music of people who looked like the kind of sad losers that were selling drugs and dodgy tickets or posters outside music venues. I spent most of the 90s listening to dance music. I'm sure the people making it were just as boring looking as the "rock" bands but at least they didn't feel any compulsion to show it on their CD covers, which were filled with interesting looking graphics instead.

That's a lot of finding about to play an obsolete/niche audio format.

That looks cool. What's the string spacing at the nut and bridge if you don't mind telling me?

Nothing really wrong with a one-box solution. It's what most of us probably started with. Mine was a Dansette which cost £8 from a junk shop and played one channel of the stereo considerably louder than the other. When I finally got something that played both channels at the same volume it completely changed the way I felt about some of my favourite records now that extra unnecessary instruments were mucking up the mix. By the time I was in a position to buy a proper "HiFi" CDs were pretty much the norm, so I ditched what little vinyl I hadn't already sold to fund musical instrument purchases, and haven't looked back. Besides with the person in the OP has a load of vinyl from the 60s and 70s it will either be worn of crap pressings to begin with (like mine was) so the choice of playback device is fairly irrelevant. In the end it's the music that's important and ultimately the person in the OP would probably be better off with a Spotify or Apple Music subscription.

They're music centres!

Will he need an amp and speakers as well?

This. The thing about JPs radio show was that if you didn't like the record he was playing, there was an good chance that you would love the next one. From 1978 to 1984 the majority of my record purchases were as a result of hearing them on his show.

In the meantime the Matt Pop remix of "Infinite Girl" is available on Bandcamp.

All personal preference. I've not come across a single brand of coated strings that I liked the feel of. Others may have different opinions. Keeping basses on stands means that they get played more. I'm far more likely to pick up an instrument and play if it's easily accessible. Keeping them in their cases is generally safer for the instruments although I did have one guitar whose finish was attacked by something in the lining of the case after it had been kept there without opening the case for over two years. Depends entirely on your situation, If I lived somewhere with large pets or small children running wild I probably wouldn't leave my basses out of their cases ever.

Any progress on this?

I haven't played any Mayones basses so I can't comment on those, but IMO every Warwick I've ever tried except for the MiK Pro Series Star Bass was horrible, in both looks and playability. Of course this is just a personal opinion (just like all the other comments in this thread). Edit: I liked the Jack Bruce Cream Reunion Signature bass too, but that was in the serious custom bass price range, so really it ought to have been good.

Latest update for the Eastwood is now 3rd week in July - so about a month's time.

If you have Cubase installed and it's doing what you want without crashing, and comes with an expanded set of plug-ins; then I wouldn't bother with Reaper. IMO life is too short to messing about with trying out different DAWs. Apart from the enhanced MIDI capabilities of some of them, they all do pretty much the same thing. So pick one, and stick with it learning how to get the best out of it.

Looking at the product comparison on the Steinberg web site, Cubase LE is a very (the lowest spec) cut down version of Cubase. Personally I wouldn't abandon Reaper for anything other than the full version of another DAW.