zero9

If you're looking to play most styles, inluding arco, a steel string, such as the Thomastik Spirocore Weich is your best option. Not cheap, but they will last for years and are very stable tuning-wise. Hybrid strings (synthetic core, steel wrap) can be cheaper but often won't bow as well, and will take longer to settle in.

You can get bows with synthetic hair, but they are generally cheap and sound nasty. Most begiiners bows are fitted with synthetic hair. The Yita is a good bow and the french style type bow is most commonly used and taught over here. There is plenty of information on synthetic hair on the web and you can have it fitted.

Both ends of a speakon cable are identical. Try another speakon cable.

Don't put 4/4 strings on a 3/4 bass and expect lower tension. Your best bet are Spiro Weichs as already mentioned. The other recommendation is to use the Spiro Solo string, which is nornally tuned F# B E A and tune them down a step. I'm using the latter on a 4/4 DB for lowish tension and the Spiro Weichs on a 3/4. Tension wise the Solo's tuned down are slightly softer.

I don't have experience with Bartolinis but can recommend EMG's. I'm using a set of EMG JVX, which are totally noise free but still have IMO a single coil sound. They're easy to fit and don't require shielding or grounding, but do require a battery.

In theory you can use any bass amp / combo. If you're going to use it mainly with acoutic bass (or other acoustic instruments), you'll really need an amp with the correct impedance input(s) as well as cut and notch filters which have adjustable frequency bands. The alternative is to get a pre-amp with those features to put in front of the main amp / combo. I've only ever used an Acoutic Image combo or head for double bass, which I would solidly recommend. If you're serious about getting as close as possible to a 'natural' sound, you'll need to get the right tool designed for the job

Not sure how far the truss rod extends into the heel (if at all), it's adjustable from the head end, and is likely to sit high up underneath the fretboard. You could always Email Status for confirmation. Because the graphite is very hard, the hole needs to be drilled large enough to ensure only the thread cuts into it. If the hole is only a smidgen smaller than the shaft, the tap / screw will get stuck. I would suggest trialling different hole diameters using a piece of hardwood first. This will give you a good feel for using the correct diameter drill bit. I used a Dremel, and used progressively larger drill bits to build up to the correct size hole. The Dremel not being particularly powerful can get easily stuck.

I thought it meant Silly A**se No Sodding Amp

The Status necks are indeed 'hollow' inside, having fitted one over a year ago. I don't know why you wouldn't want to use the standard neck wood screws directly into the graphite neck, as the installation is very solid. I don't see a benefit in fitting inserts. As the insert is larger than the screw, you could always go with wood screws first and if you do fancy fitting inserts, you could change to those later. It certainly looks possible to fit inserts looking at the Moses description. The important bit is to chamfer the holes once drilled, otherwise you'll split the laquer / carbon screwing the woodscrew / insert into the hole. I had to do the same with the small screw holes for the tuners. Each hole had to be chamfered to ensure the screw goes in clean and doesn't crack the finish (or the screw can get stuck or even break).

The older the better imo My first Trace was a 7410 combo rated at 150W purchased new in 83. Superb bit of kit and this could cut any gig. I later used an AH-500 head with a 4x10 cab. The only reason I stopped using Trace stuff is purely because of the weight. I don't buy the argument that Trace Elliot have a particular 'sound', unless you comsider the V series. They simply makes things louder, without changing the sound as you turn them up. I prefer the 4x10 arrangement over a single 15 if you can get one within your price range. The 15's tend to get replaced more often for some reason, and I prefer the tighter sound of 10's. I'm seriously considering getting another Trace head to drive my PJB cabs.

+1 to 'slap it' by Tony Oppenheim. Jonas Hellborg also published some great material on slap technique.

If all other strings sound fine, it's most likely to be a set up problem. If there are no obvious defects / irregularities at the nut or bridge, or you not sure what to look for, I would recommend taking it to a luthier type person who can look at it. Pictures of the bridge / nut / general set up etc posted here might help further.

The current acoustic image combo's have removable heads, which makes them very versatile. I use both an older AI combo and an AI head. The AI combo with single 10 inch woofer is great, but it's not what I would call loud. Good for smaller gigs, but won't keep up with drummers. I prefer the sound of my AI head through PJB cabs for a tighter bottom end. If you're not fussed about the notch and cut filters, I'd lean towards a PJB combo.

You might run into trademark issues with 'Quattro' as it's registered by Audi Something with 'valve' in the name like 'Valvolicious' perhaps?

Only play above the 12th fret on the D and G string. That'll eliminate a lot of those low frequencies

Not sure, but I'm sure you could flog it on 't Bay as a Wal bass

Thought I'd share this one for others to add a caption...

Great day, great gear, lovely people Big thanks to Roger & Owen.

Speakers are the key, although you'll need a suitable amp to drive them. You can have the 'loudest' amp possible with 1200 Watts, but if it's pushing through a single 10 or 12 or even 15 inch speaker, you're not going to get the spread of volume you want. My first Trace was a 150W combo, but it had 4 x 10 inch speakers, and was good enough to keep up with loud drummers and 2 guitars. I'd suggest looking at an amp which can deliver at least 250W, but complement this with either two lightweight 2 x 10 or 2 x 12 efficient speaker cabs. You can always run one cab for smaller gigs / rehearsal and add the second when needed.

I'm looking forward to it. Haven't made a crib sheet or whatever, am not great at paperwork. I'm hoping to just turn up and wing it

I like Vai and Satriani, but somehow this doesn't do it for me.

http://www.jonhaireguitar.co.uk if you're near Peterborough at any time. He worked on some of my basses.

Did the Jazz you tried have roundwounds on it? If so, and you like the Jazz, stick with it and put flats on it, and use your eq to get the sound you want.

U2 are also heavily associated with iTunes. Does this mean I'll need an Adam Clayton signature bass before my Apple Watch will work, or will an older Fender Jazz still be ok?

They're not the same. The S2 is an evolution of the original Series II. The Series II had a full length carbon through neck with the wooden body wings glued directly to the neck, and a 2 band EQ. The S2 has a carbon neck that stops at the bridge pickup and is surrounded by a wooden 'tone block' to which the body wings are connected. The S2 has a mid control in addition to the bass and treble. The neck profiles are also very different. The earlier Series II has a rounder neck profile compared with the shallower profile on the S2. The pickups are also different. The Series II had Kent Armstrong derived units whilst the current S2 had Status' own units. There are also significant differences in bridge units, with monorail units on the later model and a solid brass unit on the earlier series II. The Series II was also only made in headless versions, in both 4 and 5 strings. The S2 is available headed or headless, with different string spacing, with or without bendwell etc etc.