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Could be as simple as tarnished or corroded battery terminal/s, a broken battery wire, or the jack contacts not switching on the power. Else something 'deeper'.

There was one bass player who did/does pretty much OK with a cheap bass. What was his name again ... Paul somebody ?

... or nice to continue to have as an *option* with his current rig, rather than be restricted to a single sound character.

Some rely on tube amps, or think they do, for their sound (their personal sound, or the amp's inherent sound). Others prefer a clean sound, or can get a sufficient degree of tube sound with a preamp or FX.

Many don't, won't, or can't see past 'P'. They are the most generically common basses after all.

Certainly far more similar than would be than between a cross-section of deliberately 'coloured' amps.

'Sightly' different scenario. Your voice natural perception is aural sound radiated out into the environment mixed with the body-conducted sound, which accounts for the difference. The bass sound from an amp is coming from a speaker exactly the same as a recorded sound does.

However 'in the studio' the eventual tone is EQed by the mixing engineer in consultation with the producer and/or band/artist. My interpretation of 'focus' is more relating to mids and highs, than the lows which are more to me the 'body' component. You can EQ up or down all sorts of mids and...

Yes, nice to have colouration and FX selectable/bypassable.

What part of "with a 'transparent as possible' amp" did you not understand ?

I prefer the tone to predominantly come from my bass, with a 'transparent as possible' amp (that I can tweak or add FX to if the mood takes me), and transparent as practical speaker. But that's just me and others may prefer the sonic effects imposed (or contributed) by a given amp, even if...

Is there something inherently wrong with Class ABs that you have so many already, but are still 'searching' ?

Is that Charlie Jones ? He is famous for his preference for perspex/plexiglass Fender P basses.

Possibly a little 'distracted' /(!)\ . Should have faced out front more.

Decidedly unremarkable in that clip ..

Both. But curious as to why people answer 'tone' for flats. Surely 'lack of tone' would be more to the point, akin to tweaking the treble roll-off on rounds. For me the major attraction of flats is the feel, especially on a fretless. And the attraction of rounds is the tonal posibiities, and...

Pleased for you. Doesn't do it for me - to me 'over-blown' and 'over-played' . But that's music appreciation for ya - different strokes ... !

But there must be a reason as to why their popularity really took off post-Syd.

Floyd great to chill out to. Rush tiring to listen to, and after a few tracks becomes tiresome (to me). Others appreciate things differently - that's fine.

Say no more. And Guy Pratt for those who have a problem with Waters ! Maybe just not enough notes for some peoples' taste.

True. But I am so blessed to be with one who is a committed Floydienne - a condition which carries great heart and passion. As are most other women I know. Few have even heard of Rush, which is a little disappointing ....

Clearly you are meeting the wrong women ;-)

... and I bet you know all the PF lyrics word-for-word. I wonder how many people remember as many Rush lyrics ?

'Musicianship' is a lot more than scales, speed, and key changes.

Floyd music is all-round deeper musically, lyrically, and conceptually. And more pleasing to listen to. Rush is more about expressing excess testosterone (the geeky flavour) and musical masturbation. Suits some people.

I have used the 'first wrap over the top' (locking the lower wraps downwards) method for both bass and guitar forever. And surely the first string sharp bending around the edge of the tuning peg slot is at least equivalent to any 'crimp' done by any other method.

I've never restrung a (full-length) bass and not had at least a few inches excess flopping around after 2-3 wraps, or had a fat string that could possible wrap more than that. I've also never bought or sold used strings, or ever heard of anybody else I know doing that. Maybe I should get around...

And what exactly is this 'crimping' ? Seems to me that it seems to be simply putting a bend in the string just downstream of where intending to cut it. The veracity of the bend might be anything from an L to a U, depending on who you are listening to. Experiment: 1 - Snip a string. 2 - Observe...

Jeepers, if you got an electric shock you could give yourself CPR just by thumping your strings ! I take it there are no windows (intact) in the room ....

Carvin R1000 been pumping my Acme Low B4 for over 19 years. No reason to change, but wouldn't hestitate to go Class-D when/if 'the time comes' and it's not repairable. Not that it's ever missed a beat so far ...

Still nothing about 'crimping'. Nothing at all other than 'cutting' in the first video, and in the second video the 'bend' is not to stop supposed movement of core wrt windings, but is to stop the windings potentially unwinding at the (though he'd never actually witnessed this ever happening)...

Um, look at the top end of pratically any string and explain how it is different to one cut slightly shorter ... Can't say I've ever seen one fresh out of the packet 'crimped' in any way.

Even if he was referring to something other than the topic of this thread, how can you have 'extra string' between the saddle and the ball-end ? Generally (ie universally) that is a fixed geometry/length, apart from the saddle adjustment with only differences being between string-thru and...

This relates to differences in length of string bewteen the tuner-to-nut, and bridge-saddle to bridge-end. Nothing at all to do with trimmed or untrimmed flacid excess string hanging out 'north' or the tuner. Apart from possibly some peoples' misconceptions and over-vivid imaginations.

In what way will excess loose strings past the tuner, affect compliance, tension, or anything on the string between the tuner, nut, and bridge. If is simply surplus flacid length, flopping around.

Surely excess string flopping around upstream of the tuner makes zero difference to the amount of 'pull' on a string. Just as with shoe-laces, the only difference is tripping over the slack.

But is the 'fourth string' the thickest one, or thinnest one, on a 4-string bass ?