James Nada

Yep, unless you have perfect pitch, you don't really need to to worry. Just tune each string down half a step and play 'as normal'. Equipment wise, some people like to use a heavier guage string than 'normal' when tuning down. I wouldn't worry about it though, I played the same gauge strings in Eb and E for years. Technically, you might need to adjust your truss rod to compensate for the difference in tension. This is all just stuff worth bearing in mind- I wouldn't worry about it for now, just see how you get on.

Thanks very much for your help Bill. I'll check those suggestions out

Port is circular, 59mm in diameter and 16mm deep (the thickness of the panel).

Measured internally (with some head scratching about how to calculate the area of an irregular polygon) it is ~36.8 cubic litres. That's without allowing for the small structural pieces inside or indeed the space a driver would take. There's also a small horn taking up a little internal space, which presumably could be left in situ

I have an old Laney 12"wedge monitor*, and am wondering about the possibility of sticking a suitable bass guitar driver in it, for use as a small gig/rehearsal/emergency enclosure. Would be paired with a Trace Elliot Elf (rated 200w at 4ohm) so thinking an 8ohm and not getting the 'full' 200w will be fine. I realise there all sorts of mathematics involved, and finding a suitably specced driver for the enclose will involve some level of 'best fit' compromise. Any advice/ridicule gratefully received. Can provide measurements. ______ *it's a Laney CP 12. Originally an active monitor but the amp section is removed and blanked off

My understanding is that the umlaut was not included on the UK (as possibly other countries) bound instruments when distributed was originally set up in the late-50s, as a way to play down the German origins of the instrument, it being not so long after the war and all. Seem plausible, but could be internet myth.

IMO modular is the way - get a matching 112.

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Yep, I've read it. Really enjoyed it. It's very much more about the culture/time/situations that led to the electric bass being what it is, rather than it is about bass guitars as objects of desire. If you're a Spotify user someone has created a playlist of all the songs mentioned in the book, in order. Just search as per the book title

For a £125 budget I'd suggest a new Squier Debut Precision bass. https://amzn.eu/d/4ADqi4e From what I've read it's a decent bass for the price. Direct from Amazon and a choice of Sunburst, Black or Red. If you didn't know, Squier is the budget brand of Fender. As someone else mentioned, Harley Benton is a great option for a beginner bass, probably better than the Squier and a little cheaper, however I think the relative ease at which you could resell a Squier if playing bass isn't for you, is a big plus.

It's funny how the gear we craved as kids never leaves us. For me these Laney heads in their early nineties catalogue did it for me, and still catch my eye. Probably best, I never play one and shatter my dreams.

I really enjoyed it. As others have mentioned, a suspension of disbelief is essential. For me the least believable element was that relatively new songwriters could be quite so advanced in songwriting and arrangement, but I understand watching them go through years of plodding about would be terrible TV. I'm looking forward to a future series though.

I used to have one of these. Great neck. I rewired the humbucker(s) from series to parallel to make it a bit less boomy. Presumably the coil tap on the OPs is taking one of the pickups out of the circuit for a similar result

This Behringer DI might be worth a punt, if you want something short term, or just to try as proof of concept. Less than £40. It allows for connection between amp and speaker. I've used one for the purpose of running a 'tap' off a PA system, with good results. https://www.gear4music.com/PA-DJ-and-Lighting/Behringer-DI100-Ultra-DI-Box/2BI?origin=product-ads&gad_source=1&gclid=CjwKCAiAxaCvBhBaEiwAvsLmWIqwyGg1Mbmiesh5RYXHvjjP3erUCD01QnvWoh3I44iZaihW8kCNERoC8ucQAvD_BwE

Cool looking bass. How rare is a left handed model?

Loads of details here: https://www.debassist.nl/muzieknieuws/artikel/2-29077/paul-mccartneys-first-hfner-is-back?fbclid=IwAR2zFoM5u-eKYQaIErdIhaLsDu8ryKT4MPo9mJTogDQd0DGzsVVhj60494U

There's quite a lot of detail about how it was found and the state of the bass here: https://www.debassist.nl/muzieknieuws/artikel/2-29077/paul-mccartneys-first-hfner-is-back?fbclid=IwAR2zFoM5u-eKYQaIErdIhaLsDu8ryKT4MPo9mJTogDQd0DGzsVVhj60494U

Lovely bass. Would be my Gibson of choice for sure

I've always assumed it's an infinite radius (looks it) because the bridge is flat and there no individual adjustment for each saddle/string **I stand corrected, see next post

I'd like a micro FX pedal that does a basic 'spring' reverb and tremolo in one, with a switch to select reverb, trem or both. For the one half of one song I currently need two Boss pedals for.

Because if you s**t yourself you're only letting yourself down, if you can't continue a gig you're letting down bandmates, audiences, promoters...

I currently always take one stage bass and a cheap short scale Encore as a spare kept in a case nearby - it's purely an emergency bass. I've never needed a spare in 30 years, until last weekend at a festival set when the E string snapped mid set. Thank goodness I had the crappy Encore on hand.

Parasite for me also.

A hofner Violin wouldn't be a bad choice for such mod. The strap is already on the heal (assuming you go for an Ignition, which the 'lowest' model) You have to replace/flip the nut. The bridge would need the fret-like pieces moving - very simple. The biggest challenge would moving the control panel, by cutting a new hole on the other side and putting a blank or whatever on the existing hole. That said, if you/she plays finger style I doubt the controls we be in the way anyway.