BigRedX

I wouldn't fancy that considering the amount of heat my Marshall Powerbreak generates with just a 50W amp driving it.

Why would you want to have a switchable impedance speaker anyway? You can't get anything (more volume) for nothing. Guitarists use power soaks in order to get the sound of the power amp valves working hard without having to play at ear-splitting volumes. In the OP's case the power soak (if it was feasible) will simply dissipate all the extra power being delivered by the amp as heat not volume. Putting a coil tap on the speaker will halve its power handling when in low impedance mode which again defeats the object. A dual coil speaker might work, but it seems a rather over-engineered solution, when the easiest way the get more volume out of your rig is to add a second identical speaker.

I really wouldn't recommend a dummy load with the sort of power the typical modern bass amp puts out. I use a Marshal Power Break as part of my guitar rig which sits between a 50 watt valve amp and the speaker. It's a large and heavy device full of chunky resistors, heatsinks plus a fan for extra cooling. Running the amp at full power with 50% or more attenuation from the Power Break on overdriven sounds will cause the fan to kick in almost continually. I wouldn't like to think what sort of device and cooling would be required dissipate half the power from a 300 Watt plus bass amp.

But they do sell themselves as anyone who has played an Atlantis guitar or bass will know.

You are never going to get close to the sound with a chorus pedal. The clarinet has built-in phaser and was generally played through Wah pedals into valve amps. So he is going to need a 70s style phaser, a distortion pedal which can give a hint of valve style dirt and a filter pedal with a built-in envelope follower. Listening to the track you can hear slight amounts of all three effects. Also the clarinet has a very sharp attack and decay which will require some precise plucking and muting to get the same definition of notes.

Definitely a keyboard of some sort. Could be a Hohner Clavinet.

The bridge pickups on both those basses are much closer to the bridge than normal.

The true successors to Aria are of course Atlansia run by N.Hayashi the man behind all the classic Aria Pro II designs of the late 70s.

I should point out that if you are considering going the wired rather than wireless route, from personal experience standard CAT5 ethernet cables are not suitably robust to withstand the rigours of a gigging environment. They are fine in the home or office where they are going to be used to connect a piece of static computer equipment to the network and never be touched again until said equipment is replaced. However don't expect them to last very long if you are connecting and disconnecting them at every gig, and even less time if you intent to coil them up with the rest of your leads. Most cheap CAT cables aren't designed to be coiled and eventually one of the conductors will break rendering the whole cable useless. Unless the retaining clip on the plugs breaks first. This clip is the only thing holding the plug properly in the socket and without it the electrical contacts between cable and equipment will not be properly maintained. There are two solutions to this problem. Either carry plenty of spares and throw out any cable that exhibits the slightest sign of unreliability. Alternatively get them made up with special coilable Van Damme CAT5 cable and heavy duty shrouded plugs (and carry a spare). From personal experience cheap cables being used twice a week for gigs or rehearsals lasted a maximum of 6 weeks before something broke. The Van Damme versions are good for a couple of years of careful use.

IME if you have a light touch, you can be a lot less picky with your 5-string basses and their low B strings. If you look at those string manufacturers that produce tension figures for their strings, the low B is by far the lowest tension string in a typical 5-string set, to the point where even if you pair a 135 low B with a standard 40-100 set it will still be the lowest tension string. For those of us who "dig in" as part of our normal technique this does mean that the typical low B will tend to flop about compared with the other strings and produce a more distorted and less defined note. construction methods that make the string less compliant such as increasing the break angle over the big and nut do help but because they tend to apply to all the strings will still make the low B feel unbalanced. IME the more rigid the neck and neck joint construction the better defined the low B will be. Unfortunately this tends to rule out mass produced basses such as the one in the OP...

Not at all. When you look at the tensions of the strings a 135 low B is woefully under tension compared with the others. I'd be looking at that gauge B with a 40 - 100 G- E.

IME the 3 main factors in getting a good sounding and feeling low B string are as follows: 1. Good neck construction 2. Good neck joint 3. The right string for the bass (construction and gauge) There's not a lot you can do about factor 1, but you can improve the neck joint on a bolt-on neck bass, by slackening off the strings. Then undo all the neck screws by half a turn. Tune up the pitch and once the tuning has stabilised tighten up the neck screws again. Loosening the neck screws allows the tension of the strings to pull the neck as tightly as possible into the neck pocket to give the best possible joint. If that doesn't produce an improvement then I would recommend trying a taper-wound low B string, where the taper basses over the bridge and the full thickness of the string starts as soon after the saddle as possible. Suggested strings would be LaBella Steels, Warwick Black Label or get Newtone to make you a custom set.

Fairly pointless when there are potentially 20,000 phones in the audience all looking for a WiFi signal.

The problem with your poll is that you have lumped what I consider incompatible choices together. For instance I like a proper bright "white" white, but would never consider an instrument in a creamy white as I think it looks horrible. Likewise with bursts. Some look great others dull and boring. I would tend to say they choices reflect a typical man's lack of appreciation of fine details when it come aesthetics.

Unless it has changed recently the carbon fibre Enfield necks are made by Simon Farmer of Gus Guitars. I wouldn't recommend an Enfield to the OP unless he has tried on and liked the neck, all the ones I have played were extremely V-profile to the point where I found them uncomfortable, and I'm normally very adaptable when it comes to neck shapes.