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I think there two Warwick broadnecks for sale here some time ago. But was the other a Streamer? Very interesting basses, as wide necks are pretty rare. I don't get along with 17 mm bridge spacing. Now I own an MG Genesis 5, and I've seen an MG Quantum 5W for sale here.

Good job, congratulations! But I think you didn't earth the shieldings (yes, it's a plural). If you didn't, the shielding is useless, so simply solder a wire from the pickup cavity shielding to the electronic cavity shielding and from there to one of the pots case, you'll have perfect isolation and it will be dead silent even with the hands off the strings. 😉

Captain, We're Sinking! - Montreal

I had an RM800 Evo 2 and it was rock solid. The only thing I don't like about them is the notched volume control as I always seemed to want it in between 2 notches. I sent mine in to Ashdown and Dave swapped the vol pot for a smooth one and didn't charge me anything - not even the return postage! Top customer service. I went back to a Mark Bass rig in the end but the Ashdown was very good, lightweight, more than powerful enough and had a good tone. Even the very limited onboard compressor and drive were usable. I didn't rate the octave though - flubby and doesn't track well at all, but I have an OC-5 that is always on my board so no drama there. They are also remarkably good value used.

I dream of replacing the Nordstrands in my EHB with Aguilars! For all the praise the Nords get I find them far too toppy, as in clicky-clacky. I have to consciously alter the way I play to stop them picking up the noise of my fingers making contact with the strings just as much as the notes I'm playing. Ghost notes get ridiculously exaggerated. Never had this with other pickups. If I try to remedy it by turning down the treble, it goes almost directly from clicky-clacky to getting lost in the mix.* Whereas my experience with Aguilars (AG 4M, 4J-70, Super Doubles) has been the direct opposite, everything just sounds great without having to think about it, and the range of tones available with the EQ are just that - a range of great tones, not a fight to pinpoint the one nanometre of treble setting between clicky-clacky and muffle! Never played a set of the DCB's though, and at approaching £300 a set they aren't cheap to take a gamble on. *Many other opinions are available. I seem to be the only person in the world who preferred the tone of Bart BH2's (in my SR500e) to the Nord Big Splits.

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.