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It will look terrific!

a few years ago this bass was sold here: If the current owner of this bass happens to see my post and happens to be thinking about selling this bass again, pleeeaaassee hit me up Thanks and cheers!

Yes, I can understand the reasoning behind the solid rosewood neck - a harder fingerboard in general will automatically give you more percussive 'tonk'. I keep looking at that option on the Fender Mod Shop!

Ive been using the evo 2 since it came out Excellent sounding amp and Im still using it for the difficult load in gigs where I can't take my ampeg v4b. Will be using it twice this weekend

That’s the beauty of a good A/B test—it often defies our expectations! I think what you’re hearing as 'authoritative' is that signature mid-range growl of the Fender Elite. Those Ultra pickups really know how to command the sonic space without being overbearing. As for the Music Man sounding 'hollow' in comparison—that’s a very sharp observation. Stingrays often have that natural mid-scoop, but on this specific Custom build, the Solid Rosewood Neck adds a very fast, percussive attack which might make the sustain feel 'thinner' or 'hollower' compared to the dense, warm resonance of the Fender.

@uk_lefty that stringing to the peg correct, or does it better suit a reverse headstock, or the B? Lot of nut angle on the G.

Great points! The Ash/Maple combo on your Elite must be incredibly punchy—that’s a classic 'slap machine' configuration. I agree, the Fender Elite has a way of claiming its territory in the mix that is very hard to beat, especially with those Ultra pickups. Regarding the Stingray 'disappearing' act—I completely understand your frustration with the single-pickup models live. However, that’s exactly why I went with this Custom HH build. Having the second humbucker and, more importantly, the Solid Rosewood Neck really changes the frequency response. It adds a certain 'meat' and low-mid definition that I find helps it stay audible even in a dense mix where a standard Ray might get buried

I'm a member of an Irish band. It's been going a while now and using a crappy old PA system which is large, heavy, difficult to use (ie no feedback) and sounds pretty rubbish. I don't know anything about PA but I am considering proposing to the band that we replace it with something more modern, portable and easier for us to use. My though was the array/column option looks quite a good option but I've no idea if this is correct or not. I think we would definitely need a separate mixer as there are 6 of us with a few doubling on vocals and one using 3 or sometimes 4 different instruments. I tend to use an amp still so bass is less of a consideration. There is percussion but no kit - we tend to get away without micing this for the majority of gigs. I think the key to all of this is that we would benefit from something, simple, easy to use and portable. We tend to play pubs and clubs mostly so I don't think we need a gazzillion terrawatts of firepower, just something to carry the vocals and reinforce the instruments. Is anyone able to offer some thoughts on this scenario or suggestions as to a good way forward? Feel free to redirect me if there is already a thread for this scenario Many thanks!

Thanks a lot for the feedback! I'm glad the Music Man resonated with you. That Solid Rosewood neck definitely adds a unique 'piano-like' snap and character that sets it apart from the standard maple versions. Good call on the highs! I'm really happy you appreciated the detailed setup. I try to be as transparent as possible with the signal chain so people know exactly what they're hearing.

Nice neat job. How does the Aguilar sound? Did you ground the copper on the controls chamber? I never was sure it made any difference, but I would have been tempted to copper cover the whole of the back of the controls plate rather than just a strip, and then add a copper nib to the chamber towards one of the screw holes to create a fully earthed 'faraday cage' using the earth connections from the pots. As I say, I'm never sure whether it does make a difference...might be like banging dustbin lids in a field to keep the elephants away. But, at least in the fields round here, there are no elephants...so maybe it does work!

Here;s my latest review to go live for Bass Gear Magazine! As always, please give my reviews a like and a postive comment in the usual place - I love making these reviews for my fellow bass chatters, I'd love to have your support ☺️ - Goodness knows how many times youve helped me in the past! https://www.bassgearmag.com/ebs-runsten-multi-dc-isolated-pedal-power-supply/

I have an RM800 EVO III ( and had RM500s EVO I & II). All have been very reliable (over the last 5 years). That said - I know if there is a problem with them, Ashdown customer service is top notch and they would sort it quickly. It is very light, EQ does what I need and it is VERY loud - the volume is not linear and it seems to increase massively from around 2'o'clock on the dial. I cannot put it much further than this and have gigged without PA several times. Disclaimer - I am an Ashdown artist, so there may be a little bias here.

That line is a change in the finish. Musicman necks (for a good number of years now) are unfinished, so have no poly coating. It's done to make the neck smoother to play and nicer to feel (and it works incredibly well). They still finish the headstock in a satin poly though, and that's where the line comes in. Pre Ernie Ball, the entire neck was finished in poly gloss, like a lot of other basses. There have been some special editions down the years that have harked back to this, like the 'Classic' series and 'Retro 70s'.

Stormy May Day - AC/DC

Karma Police - Radiohead

I've only owned one Yamaha bass: It's the BJ-5B, a signature model made in a limited edition of 50 for Japanese surf band Terry & The Blue Jeans. I'd been very taken by the looks of the SBV range, but as a 5-string player I wasn't going to buy a bass that I wouldn't use. Then someone on here mentioned that this model existed. When one came up for sale on Ishibashi I jumped at the chance. Unfortunately the actual bass was rather underwhelming. I was hoping for a 5-string SBV, but it's essentially a TRB-5 with a body and headstock that is roughly SBV shaped. It was also by far the heaviest bass I have ever owned with the widest string spacing at the bridge and the narrowest at the nut. I used it at a few gigs where the stage was big enough to wield this without being a danger to the rest of my band or our audience. Eventually I faced up to the fact that it was never going to get any regular use and I sold it. The only piece of Yamaha gear I own now is a Tenori-On.

While we're on this topic does anybody know why on the back of the Stingray headstock there's a "line" separating it from the neck? I've always wanted to know. Not sure if this applies to pre Ernie Ball models.