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Maybe ir's a Made In Japan / Made In Korea thing?

The Squier Jazz Bass I had was definitely thinner than standard, because I had to route an extra millimetre or two out of the control cavity to get a J-Retro Pre-amp to fit.

I am not sure how it is a compromise? I would think it would give you more control over your sound. Honestly I can hear my low end so much better on IEMs than I ever could live, I am really enjoying it. I can have a mix which is just the things I want to hear without having to compromise on listening to some guitarist flat out - I want to hear me, I want to hear vocals, I want to hear the drums, I can hear the guitars but nowhere near as loud as they are compared to everything else live. I have seen them in a couple of places but in general most don't.

An update on the MB 15 cab. I have to be honest, I expected myself to prefer the BF cab before playing, but I far prefer the MB now I'd heard that....

Can't speak for Squier or the Benton jazz basses but this is Fender 51 scratchplates on the PB-50.

Bus Stop - Fatback Band

Look very similar to the ones mine came with.

The Clean channel is totally clean. There is no amp or speaker emulation. The Drive channel can also be set clean if desired. It's best to turn the Bite off and switch the Mid control to post. Here is a picture of the pedal set so the Clean and Drive channels are both clean and relative in volume with a P-Bass. One user suggestion regarding the Bi-amp mode. It's easier to hear and understand what the high and low pass filters are doing if you turn off the level control on the opposite channel. For instance, you can dump all the low end out of the Drive channel (if desired) and still have a lot of clean bottom end when you mix in the Clean channel etc.

I've switched out the output and the cable already but can power it with a True Tone onespot before I get in touch with GigRig.

To me that seems completely counter-intuitive. The D and G strings go under the a string retainer, so you only need enough string the anchor it properly to the machine head which is 2 full turns around the post. Any more will mean the string takes longer to settle stretch out, as the length of string around the machine head post takes longer to settle down than the rest. The more string wrapped around the post the longer tuning instability lasts with new strings. However the E and A strings need have more turns around the post to get the correct break angle over the nut, and in this case two turns is not enough. The actual amount will depend on the post diameter and the thickness of the string.

I use one and they have a wealth of option in the store plus the unit itself offers preamp, power amp and eq as well all the mic placement options. I got one used recently and bought the Mesa PH pack and the 212 sounds perfect for my needs. A powerful and useful tool and you can demo cab options too before you buy.

Honestly - the Tech21 SH1 is turning out to be the best all round pedal preamp I’ve come across. Recently did a gig using it on double bass - blended out the Sansamp circuit and had a great 4 band eq plus tuner all in one. For electric bass it’s a no brainer. I can’t see myself replacing my Fishman Platinum Pro for double bass as the SH1 just does everything righteously.

I am just here to hear from Bass players some opinion about their string setup...I recently grabbed a 15 string custom Bass and wanna re-d0 all the strings and trying to come up with my own set but really want to hear what would you guys do if you had your own 15 signature model...what gauges, what type of strings, in which order...etc ???

Lots of £££ You’d hope it’s enigmatic for the money.

Congrats! The AGs are fantastic basses for the dough.

Train Of Consequences - Megadeth

Loco in Acapulco - The Four Tops

If you're playing through IEM's which are basically glorified hearing aids and there is no stage amp, the amp and instrument no longer hear or respond together. This may not be as big of an issue with bass vs lead guitar where sustain is more important but it is a compromise. The problem with bass and IEM's is that unless your IEM's isolate you from the PA's low end, it will become hard to hear yourself which will cause you to turn up your IEM's which defeats the purpose from a hearing protection aspect. IEM's can just as easily damage your hearing as well as protect it. I've played in situations with IEM's or headphones with real amps in isolation as well as modelers and the difference is negligible. In a recording studio setting it's not much of an issue but in a live performance with players adjusting their volumes as well as the adjustments to the PA it can be a real challenge. Do they have decibel limits at live venues in the UK? Is that where much of this is coming from?

Spotify for me because of its excellent Amazon Echo integration, that means I can completely control it from the phone app. But I've also recently enjoyed a few other features that I didn't know about—Spotify Jam and Spotify DJ. One lets you and your friends add songs to a queue if you're on the same network (usefully, it integrates with the TV app, too). The latter is pure witchcraft—a personalised radio station of the type of music I listen to with a realistic-sounding DJ cutting in every now and then to tell me what I've just heard or what's coming up next. For my own music collection, I use the little-known iTunes Match service. £21.99 a year to sync my curated and fairly extensive iTunes collection (including ripped CDs). A lot less than paying for Apple Music.

Mick is an absolute gent, with great communication and clearly loves and looks after his gear. He provided detailed info about the bass before our sale, and we had a great meet up half way for the exchange and a chat. He even brought another incredible bass for me to have a play of! Trade with confidence! Thanks again mate.

I use Spotify. Mainly for listening to podcasts. It also lets you add your own audio files. Which I'm not sure people are aware of, so I have a load of playlists created from recordings I've made on my phone from rehearsals.