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I expect this is one of those done to death topics and that someone will be along shortly with some variation on the ‘don’t you know how to search?’ theme, accompanied by whatever degree of snippiness they feel is appropriate for a complete stranger asking an innocent question in a public place. But for the rest of us I figure a) you guys love sharing your knowledge and insights and I am keen to receive them, and b) surely one of the functions of an internet forum with a dedicated theme such as ‘bass guitars’ is to examine a finite number of questions from an infinite number of very slightly different angles. No? I am not a five-string bass player, but I was five-curious enough to pick up a Sandberg Bullet JM5 to explore the extra low end and, as it turns out, the pleasure of playing many previously energetic bass lines while barely moving your hand. Here it is (seller’s picture of my bass): It arrived with a fresh set of unidentified though I’m sure perfectly decent strings which included a tapered B, something I had never come across before. I couldn’t get my head around the physics of this at all - how does a string with such a skinny bit on the saddle and slightly beyond produce a decent low note? - but the sonic evidence was that it did. I just didn’t like it - it seemed to work, but it also seemed…wrong. So, activating tinker mode I went and bought some Ernie Ball Slinkies (the pink ones), put them on and thought no more about it (beyond aha! THAT’S how you do the run in Rhythm Stick without a ridiculous delay while you look at the fret you’re aiming for or don’t look and overshoot 70% of the time. I know - practice trumps technical workarounds, but it pleased me). Anyway, I now return to the question suggested at the top of this topic - regardless of my personal prejudices about how things should be, should I notice any difference between tapered and untapered strings, beyond what I would notice between any two manufacturers’ strings? Thank you, collective.

You think? I think they're only experiencing a hype because the order book has closed and the whole thing is winding down. It's a case of only wanting what you can't have. Add that to the fact that the typical Status customer is now a bloke in his 50's or 60's dreaming of watching Level 42 on 'the tube' and you can see why the sudden 'bubble' occurred. I say that as someone who is a lot younger, enjoys Level 42 and has owned a number of Status basses in the past.

This chap's work and reputation look to be worth at least a phone call and a chat about it: https://www.81guitarworks.co.uk/

Have you tried a squish of Servisol lubricating switch cleaner in your original pots? I've revived many an ageing & crackly potentiometer with it.

I don't think this should be marketed to those with a pace maker fitted, On a dinner dance gig the cutlery flying your way will keep the singer moving for sure. you can also save space in the van by sticking it to the outside.

Why not get a clear scratch plate?

My take on playing music is that the player is actually the instrument, the conduit for the music. A bass is simply a tool for the job. You have your favourite tool, it's ok to change it so it's up to the job at hand. Imho of course.

Like most basses, a lot more than I sold mine for….

If it makes you happy 😁

I’m sure you have seen this and others, I think you would be brave to try but clearly it’s possible.

Hit Me With Your Rhythm Stick - Ian Dury & The Blockheads

The easy answer is to 3D print some sleeves for the pots, they can even have angled ends. OR: You could probably use two of these (audio taper on tone won't do any harm) https://northwestguitars.co.uk/products/cts-500k-long-split-shaft-potentiometer-audio-taper

I wouldn't.

(T)Ouch me. The Doors

They're still different than the original vintage Kluson 546 tuners, which have a way coarser worm. You can easily age a nickel-plated one. Just place it on a small rack above a plate with vinegar, and a plastic cup on top to close it off. Check every 5 minutes.

https://www.basschat.co.uk/forum/121-wotzit-werth/

It's looks like Rob and Dawn are slowly but surely clearing out everything they had knocking about at the factory. I was offered one of those basses in the link about twenty years ago, maybe more I'm pretty sure that run of special basses they did before they stopped doing graphite instruments was a way of using up various bits and pieces they'd had lying around the workshop for years. Nothing wrong with that, I hasten to add, good luck to them. Customers get a beautiful bass to cherish and Rob and Dawn get to add to their retirement fund. Everybody wins. Status made a couple of basses for me in the past and as I've said before, they were top-class people making top-class basses. I've still got my Streamline, and if I could I'd get them to build me something else to keep it company.

Really? It’s a bass with nearly a £4 grand price tag, it could be a very expensive mistake. There must be something out there that’s fretless and better than the Sire you’ve got, maybe a TRB would be similar to the NE2 and they are available fretless. When I saw Nathan live he used a 6 string TRB for virtually the whole concert. The NE2 sat there as his spare.

Ouch - The Rutles

I have the old mini mark 802, played quite a few gig with it, soul, funk and old school house , whilst we are not the loudest band the performance has always been good, I've never wanted for volume or extension, like most things in life I suppose it depends, but I like the convenience and provided your not looking for ear bleeding levels then I think the n300 , would fit the bill.

Shoot You In The Back - Motorhead

Yes, hence why I concluded, “So, given the learning curve, if you can get Logic and intend to pursue music production, go straight for it. ” and made no mention of having to buy 3rd plugins, just the side effect caused by the sorts of GAS we end up suffering from. From a career point of view, if the OP goes to specifically study a course or work in a studio where DAWs are used, then they are more likely to use a full-fat system from the get-go. So sure, by all means start on GarageBand, its actually a good app, but, like me with video production, I saw no point faffing around with iMovie, rather saving the time and energy in learning an industry standard application instead, because it was part of my career path. Horses for course, sure - I’m just focussing on what the OP was actually asking for: “I want to pursue music production as a career and make sure that in future the DAW should have all the features that a music producer need.” However, in the defence of third party plugins whilst I am here - they aren’t all about ‘presets for stupid people’, there’s some insanely good virtual instruments, workflow utilities and as I’d mentioned, plugins that help users learn too. Not to mention the piles of free offerings that Logic does not include natively such as Neural Amp Modeller and SSL 360’s controller software. Of course, as you’d mentioned your Simmonds add-ons, plenty of brands offer proprietary software versions of their hardware also not available in Logic natively - none of which are designed to primarily dumb down the creative process, but to aid it. Still, each to thier own.

How to paint a holy zebra cow : A composition played on my 5 string Ibanez GSRM25 Mikro Bass, tuned in A standard, tenor bass tuning. 1st take.

Recently added to our setlist. Luvvit.