BigRedX

No idea what the real bid is unless someone here is prepared to put in a counter bid and see if they are the highest bidder. All meaningless until the last 5-10 seconds.

For non-specialist instruments like the bass in question the starting price is almost completely irrelevant. Unless it starts at a figure more than the bass is worth, by the time the auction has run it's course the selling price will the same whether it start high or low. The factor that will keep this particular auction sale price low is the fact that it is collection in person only (from Hull).

Power soaks are a great idea for guitar amps, but generally less so for bass amps. I see this one is supposedly rated for up to 150W, but I would check with the manufacturer for their recommendations regarding power handling when used with bass guitar frequencies before connecting it to any bass amp. Be aware that overdriven valve amp sounds are a combination of pre-amp valve saturation, power amp valve saturation and speaker break up. IME speaker break up is more important to the overall sound than power amp valve saturation, and as soon as you take this out of the equation, you may well be disappointed with the sound you are getting. Although the Ox Amp Top Box includes speaker emulation, all the models but one are for guitar cabs and combos, and none will come close to the sound of the B15 cab. Again be prepared to be disappointed. One final thing to consider is cooling. These devices attenuate the power being sent to the speakers by dissipating it as heat. Even a 25W guitar amp into a power soak/attenuator will generate a lot of heat - often more than the valves themselves. I used to run a guitar combo in a Marshall PowerBreak, and many of the (guitar) sounds I used would cause the rather noisy fan to kick into overdrive in order to keep it cool. After a typical 45 minute gig the the top panel PowerBreak would be almost too hot to touch. Ultimately the only way to find out if this particular device is any good for you is to try it out yourself. However I would check with the manufacturer that they are happy for it's use with your particular bass amp before proceeding.

And no matter how bad it is. it won't be as bad as the inside of Mr Venom's Shure Super 55!

Collection in person only. Always keeps the price down.

While 125 is bit on the light side IMO, plenty of manufacturers supply sets with this gauge low B so it must be to some people's tastes. So the note fretted at the 12th fret is still sharp compared to the corresponding harmonic? If not then you are moving the saddle the wrong way. If it is (and the rest of the saddles aren't close to the back of their limit) you've probably got a duff string. Got in touch with the shop and/or the manufacturer for a replacement. BTW what make is the string?

Wouldn't send a guitar or bass any other way.

Here's a handy hint: If Interparcel's system doesn't recognise the address you are sending your parcel to, but it is a real address (check on Google Maps), then use the closest one you can and, after completing the booking, then phone up Interparcel's customer services and explain that the address you want to send your parcel to doesn't exist in their system, and give the the actual address where you want to parcel delivering. They will be able to generate you new labels with the correct details and send them to you by email. I've had to to this on several occasions and apart from the hassle of having to phone them up it has worked perfectly.

Yes, designed to make your instrument out of tune with those that don't have true temperament tuning.

Never had a problem with UPS booked through Interparcel, and it's cheaper that way too.

Different basses sound different. But in the context of a band sound they all sound like bass guitars.

After fitting different strings you need to let the neck settle for a day or so before doing anything else. Was the action OK before you changed the strings? Without knowing what make and gauge of flats were on before it is impossible to say with 100% accuracy, but there is a good chance that the pervious strings were higher tension and now the truss rod will need adjusting the compensate for the new strings.

I play 34" scale 5-string basses in one band and 30" scale Bass VIs in the other. There is no trend. Just the right instruments for the band sound.

From my limited experience of video editing, one of the big stumbling blocks is that if you have any serious experience of working with either digital audio or graphics, is that what ought to be transferable concepts and skills simply are not. In the end I gave up and paid someone else to do it, and they did a far better job of it then I ever would have. IME doing your own video editing is only worth it if you have a lot of spare time to learn and practice the concepts, and you need to produce a large number of videos. Otherwise there are plenty of people out there who will do a brilliant job at very affordable prices. To give you an idea, the person who both filmed and edited the last Terrortones video did it for less money than it cost us to hire the venue where the filming took place.

It really depends on the standard of recordings you are after. However, if it was me, for any recording for public consumption, I'd be doing the final mixing at a commercial studio with a properly treated control room.

I play a lot of dual string drone/melody bass lines and so I am very sensitive to intonation issues. Also none of the high notes you played had a long enough duration for the micro-tuning problems to be really noticeable. It's a lot more obvious when you are playing sustained chords. Besides for me it's all academic as none of the basses I use would be able to utilise this bridge for either construction and/or string-spacing reasons.

The problem I have with allowing the thicker part of the string into the speaking length is it means the unit mass of the string is not constant for every length which will affect the intonation. I've experienced this effect (in the opposite direction) with taper wound strings where the full thickness winding does not start immediately after the saddle. I realise that we are talking tiny amounts here, but the difference in tone is also relatively small, so it's going to be a compromise between accurate tuning above the 12th fret and how important those tonal "improvements" really are. Personally I couldn't hear anything that a good parametric EQ couldn't have duplicated in the context of a full band mix with the bass guitar sitting in it's appropriate sonic and volume space.

You should be able to sign up for a free month's trial for the full version of Premier. However, looking at what is required from the OP the free version of DaVinci Resolve will almost certainly do everything you need.

Creative Cloud doesn't work like this at all. The applications and all my work reside on my computer. IIRC the main CC application "checks in" with the Adobe servers when it is on line to ensure that your subscription is paid up to date, but you can run for a month without an internet connection before it will stop working. Just for the applications that I use on a daily basis - InDesign, Illustrator, Photoshop and Acrobat Pro - the subscription is less than it used to cost for me to keep everything up to date under the old method, and therefore the applications that I use less regularly - Dreamweaver, Muse, Animate, Lightroom, Dimension, Premier, After Effects and Audition are essentially free. I can see that if you are just using a single application for a single vendor, then the old model might have been better value, but, for example the Presonus application, with all the extras you get with the subscription service, I worked out that it would take over 3 years of using it without any paid upgrades before it worked out cheaper to buy it outright. Nothing I use on a subscription service requires a constant internet connection nor for the applications or your documents to reside "in the cloud". TBH even with the fastest of internet connections for anything other than simple "Office" applications and files it would be unfeasible.

Have a look at Newtone. I discovered them because they were local(ish) and back in the 90s would custom wide you almost anything so long as you ordered 3 or more sets. I'm currently using their Axiom Bass VI sets on all my short scale Bass VIs. If I was looking for strings for a 4-string short scale I'd ask them which of the short scale sets they do, are the closest to the lowest four in the Axion Bass VI set.

String technology has made a massive difference. When I bought my first bass (a short-scale) in the early 80s, with Rotosound round wound strings it was impossible to get a decent note out of the E string. Consequently I avoided going below A as much as possible. Later in the 90s when I had discovered that the problem was that all the mainstream string makers were actually incapable of making consistently good strings unless they were standard gauge for 4-string 34" scale instruments, I swapped to Newtone and suddenly the E string on my short scale bass sounded just as good as the others.

Interesting video, although with the bass in its proper place in the mix I don't think the differences would be anything like as noticeable. Some things occur to me: 1. If the benefits are down to stopping vibrations outside of the speaking length of the string, then surely a more conventional bridge with a mechanism to clamp the strings at the saddle would be just as effective and would have the advantage of removing the non-uniform unit mass portions of the string from the speaking length (the bits where the windings go thicker to allow the attachment of the ball ends). 2. And as has already been said, also clamping the strings in place at the nut should make additional improvements. 3. @Steff did you go back to your original Smith bridge after trying this new one? For proper scientific methodology you need to check that simply the act of removing and re-attaching the original parts doesn't also make a difference.

For those of us who use software to make a living, subscription services tend to be better value for money. My Creative Cloud subscription means that I never have to worry about suddenly having to find several thousand pounds for updates to all the applications that I use on a daily basis, as I did on more than one occasion under the previous model. Also I am currently looking at changing my DAW to Prosonus Studio One, as it has several features that I may need which are missing from Logic which I currently use. The subscription version will allow me investigate all those features at my leisure and not have to worry about either paying upfront for something I end up abandoning, or having to cram all of all my investigation into the one month free trial period. Also I get treated as a proper customer while I'm paying the subscription and access to the full-level of support, which I may well need.

DaVinci Resolve. I know it says it costs £239, but if you scroll down to the bottom of the page there's a link to slightly less featured free version. IMO Premier isn't worth it unless you are already paying for the Adobe Creative Cloud in which case it is essentially free.

Really? What is an "average size woman"? I'm a well below average sized man and have managed perfectly well on all sorts of scale length basses from 36" to 28". Unless I am playing complex chords or leaping from one end of the fretboard to the other the scale length makes no difference to the ease of playability.