borntohang

Can't tell if the neck is wonky from that photo, but easiest way to tell is to use some string to check the outer string spacing from the edges of the neck. It'll definitely be a huge reach if that's a long scale neck on a Bass VI body - the Rebirth's have the bridge further back to the end strap button so as to reduce it. Hope it comes out well!

Quick question @ash - is the neck gloss finished or matte? Hard to tell from the pics but certainly a lot more attractive than the current wan-looking maple fare!

The Starcaster bass was only briefly in the Modern Player range IIRC, so I wouldn't expect a Squier anytime soon. Same for the Coronado.

Don't have the exact measurements to hand, but very much doubt the Classic will fit underneath. The Metros don't have much clearance at all and there are only one or two low profile power supplies specifically designed to fit underneath - I use a Truetone CS6 which is a great little box but even though its designed for the Metro only has about 5mm of clearance.

Great basses - I've got one in Inca Silver that I've been gigging stock. I actually bought it in the car park of a venue and walked straight onstage with it. Luckily it was a good one! I think changing the pots out is a good shout as the sweep on mine is fairly pathetic. I'm not entirely sold on the pickups but want to give it a few more shows to bed in before I decide whether it's crap pickups or something else in my chain not quite getting it there for me.

Big fan of the VTDI personally - I actually use pretty much the same rig as you with a CV Jazz into an ABM500. Ashdown do a version of the ABM preamp in a board format with the valve drive and compressor built in though and I think that'd be worth a look for you.

The Jaguars with black headstocks are short scale at 30". I don't think the new models have shipped yet for confirmation on scale length, but I'd be very surprised at 32" as only the VM Telecaster Bass and the Gary Jarman signature have had that scale so far and they both used the same neck.

I reckon that's 'cause The Smiths were traditionally the preserve of speccy students (even if we do work in advertising now,)and nobody outside of that demographic (or Mexico) has ever heard his solo nonsense so it never made it's way into the national consciousness like Amarillo or Tubthumping. You might hear Charming Man on BBC6 occasionally but nobody is screaming out for the Thursday night turn to do "Don't Make Fun Of Daddy's Voice" down at the Grimthorpe WMC...

Sansamp, Tuner and something else? Can't read the labels at that quality unfortunately.

Don't go with a single IEM or you'll end up damaging the plugged ear through cranking your mix to get over the ambient noise in the other ear. Honestly, the isolation isn't nearly as bad as people make out, but singers do go on about it if they haven't used them before - right up until they can finally hear themselves on a good IEM mix and then you can't separate them with a big stick! I think the ambient mic route is a solid call.

I suppose you only need to sell one!

I assume it's one of the British Bass Masters series, so could be anywhere between around £400 to £2500. Doesn't have the relic work that the NWR sig does, so it'll be cheaper than that one (£1500) but does have different pickups from the standard Jive so it's not just a stock model with a different finish. Maybe £500ish? I'd definitely be interested at that price range.

We played a gig in a cattle shed last year - corrugated iron and concrete floors, plus it still smelt of the previous occupants. Not the wisest venue choice I've ever seen a festival make. Manchester Cathedral was actually quite nice cause the nave where they have bands on is fairly short so we weren't totally stuck in the reverbs. Stadiums are universally atrocious. Concrete, metal, and plastic everywhere with horrible awkward angles to keep the sound in. Totally unworkable without IEMs I found.

I did a year or two with a big (as in 10 members) pseudo-latin group featuring some amazing players. We started off doing basic latin standards to moderate success, but after a few shows we had a chat about marketing and I pointed out that while most people don't actually like jazz, they do want to think of themselves as the kind of person who likes jazz. From there on we got a couple of good-looking singers and made decent cash off playing pop covers quickly arranged for three part harmony with a percussionist and a nylon guitar - maybe a trumpet solo if we felt flash. Unfortunately we just were a bit too early to get in on the youtube Postmodern Jukebox movement!

I like the headstock in a classic Burns/Shergold kind of way. The branding is a bit excessive but I don't know whether they'll actually print those covers like that?