Lfalex v1.1

I'm surprised that last one didn't have "Anthony" on it...

D'ya know what it is yet?!

I like Dr J's idea of getting a cheap P-body/spare scratchplate and modding that, even if only to give you a "test bed" for ideas. You could rout a bigger pickup cavity for the bridge pickup, giving you a choice of P, reverse P (as per your preference) J, Double J or MM. You could use the spare 'plate as a similar test-bed for electrics. I like Steve Browning's suggestion of VVT, but might go further and have stacked pots (sacrilege!) in the original holes and have VTVT.

In all (semi) seriousness, I have an old Columbus fretless neck (with tuners) for home-defence. Reversed and held just above the nut, it's just the right length and has a nice heft to it... Hold on.. Heft is for cabinets and amps. 🙄

Westone Raider...🤣

(Assuming you're using fingerstyle using index and middle fingers) There's a technique "fix" for this that works equally well on 4,5 or 6 (never tried a 7) When playing strings higher than the lowest-pitched, (gently) rest your thumb against it enough to damp it. Use your third finger to damp the string physically above the one you're plucking and play up "through" that string into the one you're damping. Means you can dig into the "E" all you want. When it comes to the "B", simply move your thumb slightly, such that it no longer damps the string and pluck away. As for damping the thinner strings beneath where you're playing, that falls to your left hand if necessary. One negative of this technique is that your 3rd finger is always in use, and can't be deployed for 3 finger styles (like Gary Willis), but that's another whole technique itself.

Can't comment on the Wal. More aggressive- Thumb More likely to stay on your lap when seated - Stingray

This. Don't get a custom. I both of the customs I've owned were not good experiences and were sold on at a heavy loss in both cases. If you've got the temperament and patience to repeatedly return to your luthier of choice and bug them to fix what you hadn't noticed as being an issue in the excitement of "new instrument syndrome" six months earlier, then go right ahead. I've had a delaminating fretboard, poorly implemented electronics, pickups I ultimately didn't like and an inability to use strings I wanted coupled to difficulties getting the intonation right because of the bridge hardware. And I got so wrapped up in it all that I ordered a four, thinking it would be "enough". It wasn't. That was one of them. You can see where I'm coming from, I think... Whilst "production" instruments may not be as exclusive, their greater volume of manufacture means that any issues get thrashed out during R&D / prototyping.. Anyways, modern bass. Modern tone? Bags of clout and versatility? MusicMan Bongo. And keep the change!

I hit the configurator for a Sacramento to specs I liked and ran up $2850 in the blink of an eye. Ok, I had; Chambered body, Zebrano top, vintage white rear body and an Ebony 'board But that's still very expensive..

I've tried that on bass finishes before.. with "interesting" results. I was attempting to cut out some deep scratches in a red-stained flamed maple Warwick. It vaguely worked, but in the process altered the flattish finish to what Warwick would call "high-gloss" Expect a VERY slippery finish when complete!

I like the look of these, but wish they'd gone for a shorter scale 32-35 (or thereabouts) which could really sweeten the high C /G strings. I don't care for the finish, but that could be changed. What bothers me is the bridge alignment issue (if it's not limited to your example) Then it's out with the electrics... That said, it's a good price, even at £299.

Filling pot holes? Don't ask your local council, they don't have the budget, and they'll take forever.

"The bassist's phone number" "Turn down" (vocals only through PA...)

Hand of Doom - Black Sabbath

I learned little from these. I already knew I was an chocolate starfish, but am not a psychopath. It seems I also don't have my finger on the pulse of mainstream contemporary music. But I knew that, too. And all this from "Hotel California" and "My Sharona"...

Can you get to Bass Direct? Or, in fact, any large/reputable bass retailer? If at all possible, I'd go and try everything within my budget with 5 strings on it, irrespective of whether I'd heard of the brand, liked the colour etc. It's worked well for me in the past. And sometimes even saved me money!

^ This ^ I'd saved enough for a Variax bass (back in the day) and was genuinely excited to try one. I had a lengthy noodle in music shop and made the mistake of grabbing some other instruments to compare it to; Stingray 2eq MIA Jazz S1 Streamer LX5 And quite apart from playability, they all sounded more immediate and less synthetic than the Variax. None more so than the Jazz, which I purchased instead!

I see what you're getting at, but for ease of manufacture/set-up, Hamer assume (or specify?) that the two octave-higher strings are of the same gauge. They should behave in a fairly similar manner as far as intonation is concerned. If the Fundamental string is twice the gauge of its two higher-pitched buddies, I reckon you'd get close enough. My issue with that approach is that in reality the intonation for each group of strings would probably end up being a compromise that sounded workable rather than correct intonation per se.

Down-strokes with a plectrum, I guess!

(I didn't buy it) That's quite a thing. More Tuner than the Pacific and more controls than a nuclear power station!

Another vote for an SMX of some sort. I really liked mine.

I'm sure the amp/cab are fine, but I found his technique and musical chops more interesting! And the bass. Looks like a Streamer, but what's with the rout under the tailpiece?

Keep the Badass... If the pickups are SD Baselines, I'd leave those in there, too. Am I right in thinking it's got a grease bucket tone pot? I'd leave that, too. So... Er... Wot Geek99 said! Maybe change the pickguard, though.

Theoretically, yes. If your bass is unmodified, then that is what should happen. Pull up the knob, and the EQ section is bypassed. Unless your bass has been modified.. The level shouldn't drop too much as you switch from "EQ on" to "EQ bypass". My Hohner B2AV has a trim pot to lower the output of the EQ stage to match its passive mode better, so no big volume jumps are evident when you switch. The tone just changes.

Yep. What you've said seems correct. Skipping to last question, Active pickups are so called because they have an active component (a small amp, often in the pickup housing) which raises the output of the pickup. Such a pickup frequently has fewer windings (coils) and possibly a weaker magnet assembly. The pickup will still work without the active part, but the output is lower. The benefit of less coils is (potentially) less noise. Weaker magnets mean less string drag for a given distance from the string, which can help improve sustain, especially if there's lots of magnet assemblies (HH stingray, for example).Finally, the pickup amp may well buffer or load the EQ stage in a way that improves its performance.