TheLowDown

RIP Sam. I really didn't expect that at all. She seemed a lovely gal who put herself out for others.

Sounds like it will be really good! I've only recently started getting into synths.

Yes I quite like TC but haven't heard them for a few years. There's also Air, Zero 7, and Goldfrapp who were all over the scene about 20 years ago but never hear anything of them now.

I would mind less if bands were upfront about what exactly is live about the concert.

I think you'll enjoy it very much then 👍. Modular synths are very versatile, more than enough to tinker with. I don't know about the 2600 but I know the Model D is well regarded.

I've recently considered going modular, but I fear that I will spend more time tinkering with sound design than making music with it. Behringer make some fantastic value for money reproductions of the old faithfuls.

Only unless there is something specific, or a specific combination of features, that you need that can't be bought any more cheaply. There is a plentiful supply of suitably high quality basses at a fraction of that price and with features that I would be looking for, so I would feel that spending £1500 on a bass would be a waste.

I love funk, especially when it's blended with other genres like jazz. I'm not a fan of the sound of slap, though, for those songs that use it.

Don't think he can go wrong with this https://www.thomann.co.uk/harley_benton_hbp120bk_ebass.htm

Future 'expansion' as in playing chords(the C string makes it easier to test out the sound of chords for writing chord progressions), walking basslines, and experimenting with solos are made a tad more convenient on a 6 string. The initial reason for the 6 string was for possible creative home projects, and as well as the reasons I've just mentioned, and the fact that it effectively includes a 5 string bass within it. Essentially, it's a 5 string with added benefits. It can be said that a good reason for having a 5 string is because it is better to have the B string than be without it when you need it. The same can be said for the C string, especially if you want to experiment.

Because it provides significant advantages over the 6 string that the 5 string doesn't quite manage. For example, being as light as possible, range of choice of strings, range of choice of bass, less of a need to mute effectively for recording, and simplicity when it's preferred, and so on. I honestly don't find that with the neck being too wide. With 6 string I prefer 16.5mm at the bridge so the width is minimised, and keeping my thumb in the centre of the neck means that there isn't much of a difference for me between 5 and 6. I had been toying with the idea of getting a Sire M5 for reasons of GAS, but I'm finding it very difficult to justify to myself when I have a lightweight 6 string. I'm not really all that fond of the B string anyway, and which is the only point of the 5 string, so it's not really a priority for me. I tell myself that I have a 6 string if ever I need a B string. The 6 string also allows for various future expansion possibilities which the 5 string does not. I think switching between 4 and 6 string also stops me from falling into a musical rut in the way i play.

If you play using floating thumb and you have a lightweight 6 string, what's the point of a 5 string? I have a 5 string somewhere, but I can't think of a reason to use it when the 6 does it all and more. I still need a 4 string, though.

Not for me because I don't see any benefit of that, but it may do for others. I like to keep things simple so I want to see all the modes as being variations of the major(Ionian )scale, so dorian being a major scale with flat 3rd and flat 7th works best for me.

Well if it's a benefit if you enjoy it. Also, for many people with dementia, many of their hobbies they will be unable to do. But because music ability is so deeply integrated(evolutionary speaking, it's far far older than the language centres of the brain) in the brain, we can still enjoy listening to and even playing Mustang Sally et al. To add to what TheGreek has mentioned, I first saw this short animation a few years back that was quite illuminating

At first I found them very esoteric to begin with, perhaps because of the way they're often explained. I can't recall my eureka moment though, but I think it was when someone suggested thinking more in terms of the scale degrees than notes that it started to come together. So many times I heard many many people saying something like "Dorian is just the major scale but starting on D", but that's not the way to think about it, and this confused me no end because there were other explanations. When I began to think of Dorian as the major scale with flat 3rd and flat 7th is when it clicked because it doesn't have to start on D(when using the C major scale to explain it). I think they're very important to be aware of because their theory relates to lots of other things too(such as the notes of each scale, more soloing possibilities, the family of chords in a chord progression. It enables you to understand why things work the way they do), but not particularly important for most regular bassists when playing day to day. I think they're important to be aware of too when wanting to improve because it shows you different options.