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No more wenge necks in the range, which is a shame as they were what I liked most

Gotoh GB11W might be worth a look... https://g-gotoh.com/product/gb11w/?lang=en

£1k less and a pound in weight less and I would have been interested

from that review.... basically what we all thought. Pretty cool bass but *massively* overpriced, unfortunately.

Thanks @itu ! Lots to think about there...

🤞

A floor is one big unit. The comparison between a tiny neck and an acre of maple is not fair. A carpenter told me that any wooden floor moves, no matter if it's oiled, painted, or lacquered. It should float, or it can be attached from one side, but it moves a lot. I've had necks that need a tiny bit of adjusting in spring and autumn, like the original Affirma fretted 4, but not the fretless 5. My basses with carbon necks are stable round the year.

In Guitar Guitar Edinburgh I had money itching in my pocket after being paid for a big contract. The GAS was strong and I was uhmming about a Gretch White Falcon when my brother spotted a Hohner Jack Custom V hidden in the back and only £300. I'm a big Hohner headless fan having gigged a B2 for 10 years in the 90s, and this was the top of the range model. It was set up beautifully and immaculate. Said I'd have it... and they guy said I think there's a case. There was, with a decent strap fitted with Dunlop Straplocks and a quality lead inside.

Too bad there's no shorty in new models.

It depends on the individual instrument, as sizing is nonstandard. Measure the playing lenght on your instrument and refer to the string maker's specifications. You can put on a string that's longer than needed, but you can't fit one that's too short...

I’m currently ok for all those dates except Sunday 17th May. Sunday 5th April is Easter Sunday, so that might not be ideal for some people.

In a choice between the EHB605 and the Cort Space 5, I'd go with the Cort. I don't like the blue, and I have Ibbys with the walnut flat finish, and I'll pass in the future.

That riser would benefit from a specific place where you put the end pin every time (tuned resonance, like sound post of the bass). @Jean-Luc Pickguard had a good point: if you could make an extra plate where you stand, that riser would be tuned every time the same way. Otherwise your feet would always tune the riser in a different way. Measurements, I think that a double bass itself will give you a hint of the size. Should it be just a plate or a tuned box? Thin, braced vibrating plate (the end pin will go through a very thin top without any bracing)? What should be the contact to the floor? Whole bottom surface, feet... Theory, see: Chladni patterns.

I suspect it's got most to do with the individual properties of the bit if wood in question. Regardless of cut or roasting, wood is far more variable than carbon fibre. Some basses need a half turn in winter and summer, some don't.

aka "Get your foot off my f*cking monitor".

Based on a sample size of one MM Stingray versus numerous lacquered Fenders, I think there's something in this. With the addition that oiled finishes are typically touted as 'breathable' whereas polyurethanes are far less so. The 'ray is lovely but it does drift with the seasons, the Fenders do not. I also have a maple parquet floor that has been oiled and the pieces move loads with humidity. It's an inherently unstable timber

Next stupid question: Is there an easy way to tell which is the ring, sleeve, and tip or is it just plug in and try?

2 internal braces fitted - 1 diagonally across the back panel, the other diagonally across the baffle between the port and the driver. A silly idea perhaps, but it seemed to reduce the resonance tapping the panels. Stuck some random shaped bits of dead sheet to all panels except the baffle. That helped a bit too. Then painted the inside with PVA and stuck wadding in. Knocking on the cab is noticeably quieter. Hopefully the sum of my efforts will result in a clearer sounding cab! Will pop the driver in tomorrow evening to find out…

Even easier, have headless basses with the truss rod adjuster exposed at the unheadstock end (Sei, Hohner).