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It depends on the individual instrument, as sizing is nonstandard. Measure the playing lenght on your instrument and refer to the string maker's specifications. You can put on a string that's longer than needed, but you can't fit one that's too short...

I’m currently ok for all those dates except Sunday 17th May. Sunday 5th April is Easter Sunday, so that might not be ideal for some people.

In a choice between the EHB605 and the Cort Space 5, I'd go with the Cort. I don't like the blue, and I have Ibbys with the walnut flat finish, and I'll pass in the future.

That riser would benefit from a specific place where you put the end pin every time (tuned resonance, like sound post of the bass). @Jean-Luc Pickguard had a good point: if you could make an extra plate where you stand, that riser would be tuned every time the same way. Otherwise your feet would always tune the riser in a different way. Measurements, I think that a double bass itself will give you a hint of the size. Should it be just a plate or a tuned box? Thin, braced vibrating plate (the end pin will go through a very thin top without any bracing)? What should be the contact to the floor? Whole bottom surface, feet... Theory, see: Chladni patterns.

I suspect it's got most to do with the individual properties of the bit if wood in question. Regardless of cut or roasting, wood is far more variable than carbon fibre. Some basses need a half turn in winter and summer, some don't.

aka "Get your foot off my f*cking monitor".

Based on a sample size of one MM Stingray versus numerous lacquered Fenders, I think there's something in this. With the addition that oiled finishes are typically touted as 'breathable' whereas polyurethanes are far less so. The 'ray is lovely but it does drift with the seasons, the Fenders do not. I also have a maple parquet floor that has been oiled and the pieces move loads with humidity. It's an inherently unstable timber

Next stupid question: Is there an easy way to tell which is the ring, sleeve, and tip or is it just plug in and try?

2 internal braces fitted - 1 diagonally across the back panel, the other diagonally across the baffle between the port and the driver. A silly idea perhaps, but it seemed to reduce the resonance tapping the panels. Stuck some random shaped bits of dead sheet to all panels except the baffle. That helped a bit too. Then painted the inside with PVA and stuck wadding in. Knocking on the cab is noticeably quieter. Hopefully the sum of my efforts will result in a clearer sounding cab! Will pop the driver in tomorrow evening to find out…

Even easier, have headless basses with the truss rod adjuster exposed at the unheadstock end (Sei, Hohner).

EL panels degrade with use. Byt you may be lucky.

Bertie - Meryl Streek

I have two basses with roasted maple necks, a stingray special, and a parts P bass with a neck made by Shuker. I've had the stingray for a couple of months, (it's a 2020 build) and the P bass since January (the neck was made this time last year). The stingray needed a neck tweak when the seasons changed not so long ago, only about 1/4 turn, but the shuker neck hasn't budged at all.

A small anecdote... I was playing a rehearsal for a concert one afternoon and the viola player about 20ft away from me kept turning around, winked then giggling turned away ... (I took some ribbing from my desk partner who thought it hilarious thinking that the violist was gay.) Thinking it strange as the guy usually kept himself to himself and was always rather quiet. Anyway, during the break he approached me.... He slapped me on the back and shook my hand saying it was the best rehearsal he's had for ages.... Turns out, I'd hooked into a particular stage board that run right under his chair leg. He said every time I played an open A string the vibrations ran up his chair leg and tickled his balls!!!! 😳 🤣 The rest of the season I was known as "the ball tickler"! 😂

Lmao I wouldn’t know mate. Never tried 🤣🤣🤣🤣. some things was very unique. Never heard a double bass use a synth pedal before. Really enjoyed the energy

Long time reader, first time poster! Equipment wise when using the Rickenbacker, Geddy used dual Ampeg SVTs, one for bright/drive, and one for deep tones. In the 80s, he switched to the 72 Fender Jazz for recording, but still used other basses live. He switched in the mid to late 90s to rack gear with no amp, including the RPM. He came to SansAmp to distill things down to the single rack unit. He used one of the prototypes at the Yes induction into the RRHOF in 2017. The GED-2112 rack mount unit is all he uses now. Only six years late, but now you know!

The barrel jack you're holding will be fine, but as has already been explained to you, you need to figure out which of the three terminals is ring, sleeve and tip. If you get a new one, I'm willing to bet that it won't come with a guide - you'll be expected to know how to find out how to wire it correctly anyway.

They are - and that daft collar comes loose all the time! The new design's something of an improvement, looks like it's got a hex screw for torque adjustment at the bottom. Speaking of which - if the screw pattern's the same it's a drop-in replacement, non-matching key notwithstanding... https://btnmusic.co.uk/products/yamaha-bass-machine-head-assy?variant=47499549311300

Hmm... Bad weed, no..?

Cheers lad!

'Torrefaction' is heat treating timber above 180⁰ causing the maillard reaction - there are many processes wikipedia lists hot nitrogen, steam, oil and even molten metal has been used. The extreme version prepares wood pellets for furnaces. A less extreme one produces cladding for use in saunas. It increases stability and resistance to humidity (to the extent guitar necks may not need lacquer) but reduces strength. Presumably the ideal is enough treatment to improve stability without causing brittleness. In the long run, therefore, it may not follow that more extreme or expensive processes are better - although I imagine a well controlled process is more predictable. No one seems to have actually tested or decided if they SOUND better or are more or less durable yet. But they look nice and the thin finishes that can be used feel nice. My guess is that Harley Benton's caramelisation and roasting differ in detail - if only by being done in different places.

They are wonderfully overengineered, aren't they?

Enjoy!!