Dan Dare

Given that a PA cab of sufficient quality, not to mention size, to reproduce bass properly costs as much as a decent bass cab and is no easier to transport, one may as well use the right tool for the job.

"Still has the name tag on. Don't touch it. Don't even look at it".

Get a finished one and let the kids kick it around in the garden for a week or so 😊

Probably wouldn't have mattered whether she had played whilst carrying him. If he has the genes, that's what matters. Of course, living in a musical environment is going to enable him to make the most of his abilities. Not really accurate to say someone with perfect pitch is "not musically talented". They obviously have innate musical ability. They just haven't used or developed it.

Have a look on the Warmoth website. They do a wide range of bodies and necks in various styles. eBay is a good source of stuff, too. Just search for bass necks, bass bodies, etc. If you want something of an established type (such as a P bass), you could buy a used one and fit improved pickups, bridge, tuners, etc.

I'm going to disagree with the majority here. It's not a museum exhibit and it's not in original condition. It's a mass-produced instrument and it's your property. Do whatever you want with it and enjoy it.

By building, do you mean starting from scratch with raw materials, or assembling using pre-made components? Obviously, I'm talking about wooden parts - body, neck, etc - not metal - bridge, tuners and so on. Unless you have a lathe and milling machine, can wind pickups, of course... I agree with BassApprentice above. Rolling your own is not a cheap route to the bass of your dreams. It's fun and rewarding, but you can often get a better result for less money by buying used and tweaking/modifying. As an example, my Bitsa P bass cost me in the region of £300 to put together. It's probably not much better than a decent used Squier with an upgraded pickup, if I'm honest. The problem with kits is that you are stuck with the parts the manufacturer provides. Improving on them (which you will probably want/need to do unless the kit was very expensive and used the best available parts) will add to the cost. Instruments with bolt on necks - Fender et al - are the simpler proposition. What did you have in mind?

Did you mean likely? Speaker outs are virtually always parallel.

Ideally, you should ensure the string runs straight over the nut to the tuner post and doesn't bend at the nut. For the sake of strength, avoid placing it too close to any of the tuners on the top of the headstock. If it's Fender style, Fender basses are common. Might it be worth visiting a shop, looking at a Fender 5 (which has the standard 4 on one side and the additional tuner located on the lower side of the headstock) to see how they place it and making a few sketches and measurements?

Get one of those wine carafes with the flared neck. You can discreetly pee into it quite easily. I keep one in the car for emergencies.

Tomastik flats are pretty much the same. The 70 A string has too little tension and you have to wind the bridge saddle so far forward it all but falls of the thread of the adjusting screw. Shame, because I like them apart from that. I've replaced the A with a D'Addario Chrome.

I have an old Garrard 401 now, which has the strobe speed indicator cast into the rim of the platter. That record sounds painful. If you want to really squirm, listen to the flute solo on California Dreaming. It's just slightly flat all the way through. Always hated it when I was younger. Used to have to turn the radio down whenever it came on.

If you want a Jazz, do try a passive one. They seem to have a certain something in the sound that active ones don't - to my ears anyway. Some pretty good bargains around at the moment, due to shops and people generally trying to sell stuff to keep some money coming in.

Having always played a Jazz since the 1980s, when I picked up a particularly nice, used '72, I bought a G&L L2000 - the Tribute model, but the dimensions are the same as the US ones - a few years ago as a general purpose gigging instrument. I had become a bit leery of taking a vintage Jazz to some of the more dodgy places I played. The G&L was a great instrument - very well made, versatile and the pickups were excellent, with a wide range of tones. However, I just couldn't get on with the wider, flatter neck. I tried, because I liked the noise it made so much, but gave up in the end, sold it and got a Mexican PJ (which has a Jazz neck). So I certainly believe you will find a Jazz more comfortable. However, I'm not you, so try before you buy.

PJB 4B. I have 3 of them, which makes a pretty potent and still portable rig and I have the option to use 1 or 2 if I don't need to make that much noise.

Are you certain about that? The 250ASX2 is a stereo module that gives 250 a side into 4 ohms or 500 bridged into 8. The Aguliar site states 250 into 4 or 500 into 8. I doubt they'd spend the extra on a stereo module for a mono head.

Have you got anything better in the pipeline? If not, what have you got to lose?

I'd hold on a while longer if I were you. By the time next year rolls around, there will be some really crazy bargains as shops try to maintain some cash flow. A number of musicians I've spoken to are starting to think about offloading gear because they don't see when/whether they are going to be able to use it again. If a lot of good used stuff hits the market, the price of new is really going to take a hit.

I'm fortunate because I have a couple of pensions, the mortgage is paid off and I have savings. Money from gigs was handy to pay for toys and fun stuff but I didn't depend on it. My part-time job is closed at the moment, but they're giving me a little furlough money. Don't know how much longer that will last. My daughter is in secure well paid employment (teacher/department head in a private secondary school), so I don't have to worry about having to help her out (she earns more than I did when I was working full time). So all I have to do is keep my head down and not be careless with my money. I feel for those who aren't as fortunate and who depend on the weekly or monthly paycheque. It certainly makes me appreciate my good fortune.

Perhaps they've wrecked their hearing by standing close to crazily loud amps for too long... I find a heavily treated, distorted or very loud sound can make it more difficult to discern pitch, probably because of all the overtones, harmonics and other dirt present. I used to notice that if I went outside the hall or put my fingers in my ears at a loud gig, the sound appeared to drop in pitch. It appears that most people can discern pitch differences. Few seem to be completely tone deaf. I've met a couple over the course of 60+ years. When they attempt to sing, their voices go up and down like an air raid siren as they hunt for and never find the note. What does vary a lot is the acuteness of ability to discern pitch differences. Some seem to find semitones tricky and once you get into microtones, a lot of people struggle. Back in the good old days of vinyl records, I had to return a record deck to a shop because it was running slow (it didn't have fine speed adjustment). It was playing records less than a semitone flat, but it drove me up the wall. I couldn't convince the shop staff when we listened to it playing and compared it to another that there was any difference. They exchanged it for me, but I could tell they were humouring me. On another occasion, I was at the old Virgin Townhouse studios one evening and one of the cutting engineers, who I was friendly with, asked for my help. He had a master disc, which the band had rejected because it didn't sound right. He couldn't work out why. The band couldn't tell him what was wrong, just that it didn't sound "right". They had given him a tape of a rough mix the studio engineer had made for them and told him they wanted it to sound like that. I asked him to play the rough mix and immediately noticed it was a smidgeon higher in pitch. The difference was slight, but it was there. He couldn't hear it. We played the master tape and the rough mix together and I adjusted the varispeed to make the master play at the same pitch. He cut a fresh master disc and told me when we spoke a couple of days later that the band had been happy with it.

This bloke does him quite well, too

I rarely sell stuff. When I do, it's because I have replaced it. I rarely buy stuff, either. I kept the same bass for many years (and still have it). I've picked up a couple of others to keep it company, but only have 4. Had a bit of a flurry of amp and cab trying, buying and selling in recent years when I decided to go lightweight, but have settled with what I have now. Haven't seen or heard anything that makes we want to change thus far. Never say never, of course.

Higher power class D modules do, although they are more efficient than traditional designs, generate fair amounts of heat when driven hard. Heat sinks are often not viable because of their small size. A heat sink needs to be large enough to have plenty of surface area to work properly. Components are packed tightly together on the modules, meaning that those which generate heat have little or no space around them - so you can't mount the power transistors directly to a large enough heat sink, the way it's done on traditional designs. So the only practical solution is usually a fan, or even multiple fans, as is the case on my AG700. For practice/studio work, the best answer is probably a smaller, lower powered model - TE Elf or similar.

Rather than buy for negative reasons (I want this because it isn't/doesn't sound like a Fender), it would probably be better to buy for positive ones (I want this because it does x, y and z, which I like). A lot of other things to consider - what type of player are you, what music do you play, what rig do you use? Etc, etc. It all has a bearing on what will work for you. What do the people who you like/admire use? That's a good starting point. In the end, there is no substitute for going shopping, trying plenty of stuff and making a considered, rather than on the spot decision.

If you use emery or sand paper, stick it to a piece of softish foam with some double sided tape. Then it will be more inclined to follow the contour/shape of what you're sanding and less likely to create flat spots or remove finish unevenly.