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I've used the 30-90 set of Bass Centre Elites for years on my Status basses. I also recently took a part exchange Jack Professional in a fit of 1988 nostalgia (I bought a new Jack Professional when I was 18), which suited the same strings very nicely. On my main Status, I've recently tried a set of GHS Stainless Steel 30-90s. They're a little higher in tension than the Bass Centre strings, but boy are they bright. They sound fantastic. I've tried to gee up Gore (the parent company for Elixir) to make light DBE strings, as I exclusively use Elixir 40-95s on all my other basses, but sadly they don't seem interested. 😩

Hey Steve, now we're getting a little closer to fulfillment of the first batch of orders, could you maybe fill us in a little on the story of this graphite neck production odyssey of yours? What made you undertake this brilliantly ambitious project? (Obviously Status stopping graphite production in '22 has hit some of us quite hard.) Are you doing most of the work yourself, or do you have a China-based factory/maker/partner? Questions, questions... So many questions

Do you ever have trouble with the Line 6 dropping out in a crowded gig with lots of people's phones on that 2.4GHz band? I read on another theead that people have been finding 5.8GHz more reliable. Thanks for posting those spectrum plots. The G10 must have a pretty chunky input impedance. Some people have been recommending the NuX wireless systems. Has anyone tried one of these on a DB?

It would be worth making enquiries of Newtone Strings. They made a set of DBEs for me before. Otherwise... it's the clamp!

Got invited by the drummer of a band I've depped with a couple of times to check out another band of his which is being rebooted. Went down to meet and jam this afternoon, and it's a four-piece alongside singer, guitarist/bv and drummer, playing upbeat rock/alt-rock/indie-rock covers that aren't my usual fodder but I can still see being fun. All involved seem to be affable and have realistic expectations, the singer can sing, the guitarist had his combo up off the floor and was playing at a reasonable volume... sounded pretty good, so I reckon I'll see where it goes. Travelled light as I was on the bus and knew there was a decent cab I could borrow in the room: RB Streamer LX 5 -> Telepath wireless -> Fly Rig v2 -> Markbass Nano 2 -> Hartke VX215

I'd hope that most players take a more balanced approach. Professionally, I use mainly Fender Jazz basses - not custom shop fare, but ordinary run of the mill production ones, yet they are instruments that are special to my hands & my ears, and do the job I need them to do over thirty-forty live tribute shows a year. (2018 American Original & 2016 American Elite.) I still have my boutique basses, mainly by Status, because I've been with the brand for 35 years, the instruments fit me like a glove, and I love the peerless quality control that comes from every bass going through the hands of one man, not to mention the snap and howl and how they cut through any mix. They are something I will hopefully always have, and are usually played on highly technical trio gigs where I can really stretch my stuff. They have their place, basically. So I don't think there is any snobbery as such. Just a case of the right tool for the right job. And remember, it's not just a 'hobby' for some of us - It's our livelihood.

Don't think Stadium are DBE... you wants the Elites DBE. Mine were £20 offer on the bay, via Bass Center.

We played Murton Officials Club in a local colliery village 20 minutes from home last night. It's a small club with a fantastic crowd, and one of our favourite gigs, with a very easy hump in and out. After a week with a chesty cough I struggled with my singing, but keys and guitarist helped out and we really enjoyed a brilliant atmosphere. I only use my Cliff Bordwell fretless on three songs, but got sent this pic of me studying the fingerboard between verses..

Quando Quando Quando - Pat Boone. Engelbert Humperdinck, Michael Bublé, and more

Interesting. I've just been pondering the question of strings, as the ones that came with this bass are properly knackered. I boiled them in some vinegar, so they don't sound totally dead, but they're worn and don't seem to be particularly consistent in terms of string-to-string and note-to-note volume. The front runners from what I've seen of double-ball-end strings so far are Stadium Elites, because they're a) apparently made in the UK, and b) not £50+ like most other sets.

That's a very nice bass, Paul. Congrats! The early 50's P isn't my sound, but I'd imagine it must produce [sonically] exactly what you're after. Enjoy! 😎👍🏻

My overwater cost only 10% more than the equivalent fender artist bass at the time, yet it was handmade in England and had a few little extras I could choose over the fender. In that scenario, with the money in my pocket, I would have been insane to pick the Fender.

Just needs your MiniNinjaRob logo on the ends of the headstock now! Can you do some sound samples of the finished article, please? (Just the voice memo recorder on your phone would do...)

I think basically that is the upshot of it. I can’t imagine it will be that different for bass amps. You should watch his one on tonewood as well.

I would also love to see them live. I am writing here in the hope that next time they spin by someone will comment here and I will see it in time to get tickets.

Just discovered Thomann's bass pedal best seller list (211 pedals listed)...due to the #01 on the list! The rest of the bass pedal synth rankings on that list also made for interesting reading: #72 SA C4 #61 EHX Bass microsynth #51 Boss SY1 ... #01 MXR Bass Synth

No No No - Dawn Penn

The drop down says the light is £138, the DMX controller is £29. The lights are in the tech spec, but so is the DMX controller so it is sold as parts.

Behringer BD 121 is a great start to solving your needs I think. G4M can deliver one to your door for around £24. In case you didn’t know, they are based on the Tech 21 Sansamp Bass Driver, which is a mid range industry standard. I have both ( Tech 21 and the BD121) and the Behringer isn’t far behind, especially when you factor in the price differential of around £225. You can experiment with the BD121 for sounds and use the XLR DI out into the desk. In the unlikely event you really don’t like it, then it’s handy for a spare ( or even flog it on here! ). £24 is a bargain price for such a useful pedal IMO. I have a couple of them, and there’s always one in my leads bag on every gig I do.