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If you have a problem with an account, just raise a support request rather than making another account and posting here, as lets face it, you could be anyone. When you try to log on there is a forgot password button which will send an email to your registered address and allow you to reset your password.

Nice to know you like it, and Im sure it is a nice bass, but I think it might be worth mentioning in any review of an aria product that you are a featured artist on the Aria page, https://ariaguitarsglobal.com/portfolio/alberto-rigoni/ so that people can take that into accounts with your review.

This is going to have to be my last new pedal for quite some time I think. Really need to get stuff sold but this is the sound I’ve been chasing for ages.

Hhhmmmm.....the more I've looked into this... the more I'm realising that I'm wrong! 3" dust cover seems to point towards a smaller coil diameter....and the 9.5 lbs weight is indicating that I may have the 15/100 variant, with a 2" voice coil.

I’d guess that too, it’s certainly not on my watchlist

Like you, I’m mostly running these sounds clean (or with slight breakup when digging in). Yes, it is frustrating to hear most demos showing the harsher side of the SV because it’s very capable of some lovely clean tones. (I actually noticed the other day that Avishai Cohen was running his upright through an SVT-CL Heritage rig.) As mentioned above, the SV does have deeper and more prominent lows. The top end can also get much fizzier due to the high switch. And this is before using either of the cab sims. I thought getting the Fifteen would obviate my keeping the SV, but I do appreciate the extra low end heft it brings for certain sounds.

Bought a cab from Simon, as described if not better, do not hesitate, great guy to get to know

There are two people bidding for this. I'd bet your kidney that at least one is the a friend of the seller pushing the price up, possibly both. I'd keep as far away from this as possible.

A set of Ultralights might fit?

Really?

I love his playing too. You’re right - those first albums have some really interesting bass parts, particularly A-ha Shake Heartbreak and Because Of the Times. Great shout. 😎

One way is to remove the front passenger headrest and put it in the traditional way though the hatch, so the neck is resting on the top of the passenger seat. Another way is to put the scroll on the top of the rear seat and the body at an angle on a reclined passenger seat (entering via the passenger door. (I used to do this with a Mk2 VW Jetta saloon. Corsa will do you fine for DB carrying duties, no problem.

My Mums friends granddaughter does this, she gets sent let’s say a coffee machine and has to extol its virtues on various social media forums, essentially influencing peoples minds/choices. Gets paid a staggering amount to do it as well.

The bus wiper is sooo outdated! Spread your ankles wide apart then hold your bass between your legs (neck first of course) and scrub vigorously back and forth - there you have the Ass Wiper...

Still banging my head against teen town. It's getting faster but my playing lacks Jaco's musicality. Also got a bunch of mostly simple songs to learn ... as usual one simple song turns out to have hidden complexity. In this case Love Shack. A truckload of variations, appearing random but with some consistencies.

Never done it myself, but I've read that you can fit a DB into most small hatchbacks by putting it in "upside down" in the front passenger seat, with the scroll right down in the footwell. Seat as far back as it will go, natch. Doesn't leave a lot of room for a passenger, mind ...

Oddly enough, Fender did build a headless prototype bass in 1975. It was the result of Gene Fields (of Fender's R&D Department) research into eliminating dead spots on basses. Gene’s research led to his designing a completely new instrument, the first Fender prototype headless bass. The instrument consisted of a maple neck-through body with mahogany wings. The neck had a 32″ scale with 23 frets and black position markers. The body was cut to a stylized Jazzmaster shape with a carved top similar to the LTD jazz guitar. The body-mounted tuner was a simple right-angle pull design with tuning knobs in the tailpiece. Individually adjustable bridge sections were used, as well as individually-adjustable mutes. The neck pickup was humbucking, while the bridge pickup was a P-Bass with a special cover. Two switches provided pickup control and phase reversal.

As far as I can tell, they err... inform those people who lack the ability to form their own opinions what to think and believe. Think of them a bit like a gen Z version of Joseph Goebbels only with somewhat more inclusive agenda.

Could you use a textured paint then prime and give it a top coat in a durable red?

The whole album has a great groove. All the players are amazing and Donny's voice is sublime. One of the best versions of What's Going On in my opinion. The album sounds good from a production perspective too. All the instruments can be heard clearly, yet you can also "hear" the room it was recorded in and the audience participation is electric. The bass playing is the icing on the cake. I'm going to have to listen to it today!