Rich

Nnnnice 😎

Wouldn't affect my opinion in the slightest, I still think the CHB is one of the best 4-string basses I've played regardless of price point. I dare not go to their website as I find it a real struggle not to accidentally buy a sapphire-burst one.

The wood looks a whole lot better as that neck than it did as my stair-rail

Boulevard of Broken Dreams - Green Day

Yes, I found the same thing when I was learning the ska band's set. I knew the actual songs forwards, backwards and sideways from having listened to them constantly as a spotty teen, so learning the actual bass parts was made a lot easier.

I've never owned a signature model of a bass -- apart from my Me-signature Shuker and I suppose at a stretch my Sire V7 fiver... it does say 'Marcus Miller' on the headstock after all -- but I would consider one if it was different from the normal base-model in some way and those differences meant that I preferred it or it suited me more. The aforementioned Sire is a case in point here... the differences between it and a Fender J 5-string mean that I far prefer the Sire. I would never buy a signature bass purely because an idol of mine had his name on it.

Just to get back on topic... back in the late 19th century, bubinga asked: I would say yes, it's worth doing because you might learn from it in one way or another. Certainly all the artists you mention there have got some great basslines going on, whether you like the actual songs or not. I'm not desperately in love with a few of the tunes that my bands do, but they are un-boring enough to play and get a good enough punter reaction that I am happy to stick with them. Of course, it sometimes happens that there is something in the set, or proposed set, that you really don't like and that will teach you nothing except how much you don't like the song... I remember many moons ago, 2 members of a band I was in were mad keen on doing the Mavericks' "Dance The Night Away", the bassline of which is the same two sets of three notes repeated over and over and over and over and over and over again. Add this to the fact that I really hated the song anyway, and it was absolute veto time from me.

What, a different Wembley Arena? it could well have been bad luck on where I was in the hall... it's always been a bit of a lottery in there.

I saw Rush at Wembley Arena on the Hold Your Fire tour. The bass was inaudible. Ged looked like he was playing well though.

Your Kiss is Sweet - Syreeta

You could use the StBsGEQ graphic, leaving all the sliders flat and just boosting the output level, or the mids as you say. Alternatively have you tried any of the amp sim patches? There are dozens of the bugggers. https://zoomcorp.com/media/documents/E_MS-60B_FX-list_v2.pdf

Good morning Mr Dog (or is it Mr SOlitud? or Mr 3? ) Welcome to our humble abode. Pull up a chair, grab yourself a cup/pint/dram/schooner* of summat and enjoy yourself. Don't forget to check out Guitarchat too. https://www.basschat.co.uk/forum/96-guitarchat/ *other beverage measurements are available

Joe le Taxi - Vanessa Paradis

It'Snow Good -- Depeche Mode

Orinoco Flow - Enya

My Spine Is The Bassline - Shriekback

He's much louder on the last few albums. Almost up front in places. Ever since he got his Bongo he's been actually audible.

"No, I don't have a girlfriend," said Darren, "how did you know?"

Happiness is a Warm Gun - obscure beat combo

My Shuker is proper fàg-paper stuff, as low as I can get it without choking completely. The Sire V7 fiver is about 2.5mm across the board at the 12th fret. The ska jazz is more like 3-3.5 -- what with the music being that bit more energetic, I tend to get carried away and hit it pretty hard especially with the pick, so it needs to be a bit higher.

+1 for basically everything Ped has said so far I too love the nearly-but-not-quite-brand-new tone I get from Elixirs, and the fact that it takes ages for them to become dull is just perfect for me. They've saved me an absolute fortune over the last few years

What A Waste -- I.D. and the Blocks

I love the look of most natural woods -- apart from buckeye burl, which I hate. Either entirely natural or in a nice trans finish of some sort that shows off the figuring. But my perfect Jazz is either CAR or LPB, matching headstock either way.

Not a P admittedly, but my '80 Wal Pro has a big, deep 'V'-profiled neck. Properly chunky. I should hate it, but I don't. Also not Ps, but from what I understand, Wishbass necks are absolutely enormous due to their lack of truss rods.