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I would really go Japanese (without turning obviously!!!). Every one I have ever owned, or encountered, has been an excellent instrument. IMHO the price difference you pay for a US instrument just isn't worth it.

I'm sure it's part of the longer version, but I have a picture of the other guys wondering why you're taking your bass to the toilet with you. In its case presumably.

And you paid for them or didn't claim the input VAT (personal use of business assets). Insert big smiley here!! 🙂

Brave, brave Sir Robin

I´ve Got My Sights On Someone New - Roddy Jackson

Shoot Me Again - Metallica

Since You’ve Bean Gone — Rainbow

Oh I still play guitar. I love both. Hell, I can get behind any instrument in the right place in a song, but I can only passably play a few.

..Dumb me.. The third wire would be a common ground/0V.. As what @DGBass says about voltages seems to be correct according to the online converter.The only thing left to figure out is how many Amperes the transformer has to be able to supply safely. Which should not be that hard to figure out as long as you know the wattage of the amp. But again, I don’t remember much of the stuff as it has been decades since college but briefly P= U*I where P is the power in Watts, U is for voltage & I for current (amperes). (Hope i am not terribly wrong here as unsure how exactly this applies to amplifiers but dumb light bulb wattage can be worked out like that I think..) Hope someone can shed some light on..

It's a difficult question to answer without speculating. A hollow monocoque neck (like the design of Auerswald) can be made strong enough to resist string tension without core material or truss rod. But hollow construction can introduce resonancy peaks. which may or may not be welcome. Those peaks can be also managed by choice of core material or the use of outboard eq. The more solid (and denser) the material, the less pronounced the peaks are and the more easily an instrument can adapt to different musical situations and sit in the mix. But solid necks do tend to weigh a bit more. There is a school of thought amongst luthiers with very traditional approaches that a guitar neck has to be just stiff enough to resist string tention, and if it's too stiff it will reduce midrange and warmth. I've realised over the years that basses featuring multi laminated necks tend to sound very similar to one another once there are more than 7 laminations. Status experimented with different core materials and (I think) their Stealth II basses had epoxy foam in their monocoque construction to dampen certain resonances in addition to fingerboard choice and selected weave orientation. One thing I've noticed with my Status bass is that it still sounds like a Status regardless of what electronics are installed! Yes! That's the reason why wooden fingerboards are an option. They provide some dampening of the higher frequencies. Plus it's possible to investigate wood options for dampening properties more than strength so mahogany, padauk, alder and other softer hardwood species can be potentially considered too.

I was once recommended to a local singer who was putting a band together to do some gigs in support of her ‘upcoming’ album release. I met the singer and she seemed fine and so were the songs and i agreed to do the two local showcase gigs she had booked. Anyway i learnt the basslines as per the recordings and turned up to all the rehearsals to discover she didn’t know the arrangements and wouldn’t take helpful advice from me or other band members whom like me learnt the stuff. Things were changing every session to the point of us all being confused. I decided i would honour the two gigs and leave after the second gig. As expected the the first gig was dreadful (She thought it was fantastic) and the audience were as shocked as we the band were when her vibratio ad-libs sounded like a strangled turkey. Second gig was worse, and in the interval i told the drummer i was leaving immediately after the gig. Which I did quietly after the last song with a blow by blow analysis of my reasons and she marched off in a huff. I then went to cool down and got talking to a punter and told him i had just left and the reasons for it, then he told me the singer was his wife!!! Bit awkward but nonetheless before the end of the following week both the guitarist and drummer had quit. A few years later i was compering a stage at a music festival and her new band were on my list do I gave her the same respectful intro as the other bands and then stood in front of the stage with my other half where the singer could clearly see me and enjoyed watching them squirm through their absolutely dreadful out of tune set with the knowledge that she could see my reaction and knowing I was right. Since then a couple of mates agreed to do gigs with her before hearing her and regretted it.

Precision guy here. I bought mine in 1969 and still have it. My taste hasn't changed much. After switching to 5's I played a couple of different basses, but in 2011 found a great deal on a Mike Lull PJ5, which has been my #1 ever since. A set of TI flats and a lump of foam finish it off nicely.

After listening to this on both a laptop and a desktop running through a hifi system, the bass gets a bit obscured by the backing track - it's where it would be in a normal mix but that's a bit far back when the point of the video is to showcase the pickups. Still, liked and subscribed because you're worth it.

Can you effectively import your settings from XR Edit into Mixing Station by loading a snapshot into the XR18 from XR Edit and then opening Mixing Station? Will it pick up the current settings in the XR18? Just wondering as it would save hours of mucking around transferring settings.

Nice to see that you've been successful on two fronts.

There's more than one model on that page - the default one is £7 but looks like it's just an LED light with facets, the lasery one is £17. I've just gone mad and splashed out very nearly a tenner on https://www.aliexpress.com/item/1005007714100673.html

I hope you don’t mind me reviving the thread. I’ve had a set of the Pino flats on two basses, so I thought I’d give a little feedback from my experience. I’ve tried a number of different variations of flats on my Fender CS Sean Hurley precision, trying to find the set for it, but always found myself in the Goldilocks predicament: too much tension, not enough tension, too bright, bad intonation, etc. I’d tried Chromes, Elites, Thomastik, La Bella (stock on the Hurley), Fenders, Ernie Ball Cobalts, Ernie Ball Group Flats, and the newer Ernie Ball Group 2.5s. Thankfully, I have a small retail store, so it’s taken the sting out of it a little changing so often. The set I eventually settled on were the La Bella Olinto Signature Flats, possibly as the gauges matched the Thomastiks PowerBass rounds I use on other basses. Nice tension, maybe sounded a little more roundwound but still a nice thud. Not long after I settled on the Olintos, I saw that the Pino sets were going to be released. I’m not a lover of EB strings in general, and I really didn’t like the cobalt flats, so you can imagine my joy when the Pino Signatures were a take on the Ernie Ball Cobalt Flats…. Curiosity got the better of me, and I bought a set of the Extra Light 38-98 to pop on my Geddy Lee Jazz. Well, I took to them instantly. Although they were lighter in tension than what I was used to in a flatwound set, more ‘bouncy’ than loose, they were a joy to play. I was surprised by just how much warm/rich bottom end they had and how the top end still sang and sustained when you played a harmonic. I found them nice and balanced tonally across all strings and they possessed a ‘played in’ feel as if they’d genuinely been on the bass for a while. I was so impressed, the next morning I took my Hurley bass to the shop and took the Olintos off (😬) and put an Extra Light Pino set on. Now, after a truss rod tweak, I have the set for the bass. It has all the characteristics as above on the Geddy but then it has ‘that sound’ when you dampen the strings with the side of your hand or engage the Hurley’s mute. Long story long, I was really concerned they would be a gimmick (and the recent feedback on the EB John Mayer Signature Silver Slinky’s we’d had didn’t fill me with optimism either) and it would be another set of EB Flats on and off in quick succession. However, I’m pleased to say that I was wrong to think that and for me, with or without Pino’s name on them, I think they are worth the money. The silk wraps are a pretty colour too. Apologies for the War & Peace post! (A little OCD may have kicked in while stringing up the Hurley)