Cato

+5 Might be a bit flamboyant but in my head I'm picturing it with a set of gold strings.

This is going to sound like a bit of a paradox, but as the finger strength improves on the fretting hand you'll probably develop a lighter, cleaner touch which will cut out a lot of it. You'll also probably start playing lines across all the strings instead of moving your hand up and down the neck on one or two strings. You might want to look into the 'one finger per fret system' but have a look at this as well.

Just to add, if you listen to the isolated basslines from a lot of famous recordings by some very talented bass players you can hear finger noise. If you listen to the whole mix there's no sign of it.

Sounds like it could be 'finger noise'. That happens when you move your fretting hand up or down the neck whilst maintaining contact with a string with your fretting hand/fingers , if that makes any sense. To be honest I don't think it's something that someone who's just starting out really needs to worry about too much. As your technique improves you'll almost certainly find it happening less and less. It's also not something that an audience is ever really going to hear when you play with other musicians. If it really bothers you you could try buying a set of flatwound strings as they're much smoother and produce far less noise than the roundwounds your bass almost certainly came fitted with, but it will change the overall tone of your bass in a noticeable way. Not necessarily in a bad way though. A lot of people prefer the sound of flats.

Nice sleuthing. I think you've got it.

Anyone got any info on Kenet Hit? I've tried to look him up but apparently his crimes were so monstrous that, in a modern day damnatio memoriae, all mention of him has been erased from the internet.

Julio Iglasias was 'neofacism', Tina Turner was 'sex'. I'm starting wonder if they came up with the reasons by throwing some sort of multi faceted dice.

I wonder what the official difference between 'eroticism' and 'sex'was? On second thoughts I'm not sure I want to know the answer.

The Village People being banned for 'violence' made me laugh.

I've had one since I was 18. I don't know about the pickups. The ones on mine have the Status logo embossed on them but I don't know if they were actually made by Status or manufactured under license by Washburn. The active circuit is not your usual 2 or 3 band EQ The controls on the bass are volume, pan and a single tone control. The tone control works pretty much like a passive one except I think there's some sort of treble boost so that when it's on full the bass is almost painfully treblely. It's the only bass on which my standard setting is to turn the tone control down.

That's the beauty of Basschat. No matter how much you've spent or how much gear you own there's always someone who's spent more and owns more gear.

Boney M and Milli Vanili were both created and managed by the same guy, Frank Farrian. Most of the 'official' line up of Boney M never appeared on the recordings which used session performers and Farrian himself to complete the vocal tracks. This was not a secret nor particularly unusual for disco 'bands' who were often just the public face of tracks performed by various session musicians and the public at the time didn't care. Fast forwards a few years and Farrian put together Milli Vanilli, based on a similar principle of being the public face of music recorded by other people. This time all hell broke loose, which must have come as bit of shock to Frank after he'd done pretty much exactly the same thing before for years and nobody gave a rats backside.

I suspect that with the number of guitar/bass players generally in decline and guitar based music becoming less popular that the number of people interested in buying vintage/collectable instruments will eventually start to gradually decline as will their value. Instruments associated with specific historically important artists like Hendrix or the Beatles will probably always be desirable, but my guess is that the value of things like pre CBS Fenders is probably going to peak at some point in the next 20 years then begin to fall as the generations for whom such objects hold the most cultural significance diminish.

Has th e EQ on the amp in that top picture been set like that for tone purposes or just to make the whole stack look like a smiling happy robot?

I like the naturally scooped tone of a Jazz or PJ with both pickups on full. I might even boost the bas and treble a bit on an active onboard preamp to accentuate that tone, but I pretty much always run the amps with as neutral an EQ or tone shaping section as possible. As others have said we almost have too many tone shaping options in the chain these days. If I find a tone I like on the bass I'm not going to improve on it by fiddling with the amp as well.

'It's that old warehouse of Skank's again' is now in my head, sung to this tune...

I reckon the best tone I've got out of my Deluxe Special is when it's DI'd straight into my Focusrite Scarlett 2i2 interface with both pickups on full and the EQ on the bass flat. I'm fairly sure the Focusrite is supposed to be completely clean, with no influence on the sound coming into it so I think the only thing I'm hearing in that scenario is the natural tone of the bass and it's onboard preamp.

There's going to be an element of personal opinion about this, but I suspect that a lot of people are thinking of a very particular type of humbucker when they hear 'MM', specifically the kind you'd find in a Stingray.

I've always been a fan of the sound of 2 J pickups with all the controls maxed, but in the last couple of years my main bass has been an active PJ which not not only does a ballsier version of the JJ, but also has a couple of my other favourite core tones included in the package as well. i've never tried it but I suspect I'd be impressed with a P/MM combination for the same reasons.

Apart from Fender Custom shop or maybe top end Musicman stuff there's not that many places in the UK where you can try out basses in that price bracket. I suppose if you don't live near the Gallery or Bass Direct and you want to buy something boutique the only option is to buy blind online.

In the end I went with a 350 watt Hartke Head and a 4x10 Carlsboro cab. Which may actually have weighed slightly less than the Trace Combo.

Probably not much help but I remember trying out a Trace Elliot combo with an aluminium necked split headstock Kramer during the early 90s. I couldn't tell you the actual model though. I remember I was impressed with the bass, it certainly wasn't uncomfortable to play in any way. I seem to recall that it was probably the heaviest bass I'd ever used up to that point and I was a bit surprised by the weight, but it wasn't back breaking, at least not to 18 year old me. I reckon I've played much heavier basses since.

I definitely prefer the aesthetics.of laurel to the Pau Ferro Fender initially used as their Rosewood replacement. Although I thought I read somewhere that the CITES rules might be about to get tweaked and that Rosewood might be making a comeback. Edit: Found this https://www.guitarplayer.com/gear/rosewood-may-return-to-low-cost-guitars-in-2019 If it happens maybe the last couple of years worth of Pau Ferro boarded instruments will become collectables...

I suppose it depends on how much you think wood affects tone once you're plugged in. Personally I think pickup placement and pickup type affect plugged in tone far more than what wood the instrument is made of or what shape the body is.

I use mine pretty much every day for both guitar and bass. I'm starting to get really into home recording and the Helix provides an almost infinitely bigger pallette of different sounds and tones than I could ever afford or even fit in the house if each part of the digital chain was using a separate pedal or amp/cab. For my purposes it's perfect.