nilebodgers

I meant either crimp or compression ( I.e. screw terminals with an intermediate load spreader for compression without damaging the strands). The problem with soldered multi strand cable is that solder wicks back up the cable and can cause failure if there are mechanical stresses/flexing. This has long been known in electronic circles. (I also found it in a commentary on the IEE wiring regs: Soldered conductor ends on fine wire and very fine wire conductors are not permitted (Regulation 526.8.3) where relative movement can be expected between soldered and non-soldered parts of the conductor.)

Not in power connectors (e.g. NL4). Crimp and compression joints are more reliable than soldered connections for these applications.

This is pro Production company grade, in the real world it doesn’t get better.

Why not do a powercon? Standard d-style Xlr hole.

1st. It’s what came up for sale at the right time, but I’d have chosen the earlier version anyway to keep the backward compatible neck.

Yes. More sophisticated solutions will give better results, but demand considerably more skill in operation. I have been a pro live sound engineer, but I rarely suggest pa gear on here as I don’t have hands-on experience with the inexpensive kit that would be appropriate for band use.

I use the cycle of 4ths all the time for practicing as it means going round all 12 keys, but it's not just moving up or down a fret so I find it forces my brain to "reset" so I am actually thinking about where I am going and where the notes are rather than just a mechanical pattern movement. iReal has a fantastic training mode where it will repeat a song, but transpose by an adjustable number of semitones on each repeat. This means that you could e.g. create a 4 bars of Cmaj7 "song" set to repeat 12 times then set it to transpose 5 semitones up on each repeat. You end up with 4 bars of Cmaj7 then Fmaj7 then Bbmaj7 then Ebmaj7 etc. all the way round the cycle of 4ths to Gmaj7. I use this to practice scales and arpeggios in all keys as you are continually hearing the chord that you are playing against so it reinforces the context rather than just being abstract.

John Robson Guitar Tuition on YouTube has been doing a series of videos on chord progressions and substitutions - parallel minor keys, modal interchange, tritone, secondary dominants etc. but all done in the context of common rock/pop songs. It's the most accessible treatment that I've seen and only has theory that you'd need. e.g. Tritone: (John is from the same part of the world as me and I remember trips to his home town, Redcar, when I was a lad.)

Wow. I wish I could play half as well as that 😮

Yes, they are on a different level. Nothing wrong with the MIM models, but the pro USA is just better. (and lighter if that is one of the criteria)

Just got a new (to me) Fender USA Professional Jazz. This was one of Lozz196's stable which I spotted he wanted to move on. It's got Custom Shop 60s pickups (instead of the stock Vmods), a Ki0gon loom and a tort pickguard. It plays and sounds great, I really like the higher and narrower fretwire - it feels very precise. So far I've done no mods, just added Dunlop straplock buttons. I'm going to have to replace the pickup foams with thicker ones as I can't get the pickups close enough to the strings for my preference. (I've seen other people comment this is an issue with the CS60s, the foam stuck to the brass grounding plates is too thin.) (My old MIM Jazz has just left to go to it's new owner today, the USA bass is so nice I wouldn't play it.)

I did spot a little misunderstanding of the fact the British people insult and take the mickey out of their friends and are polite to their enemies. Separated by a common language etc.

Wow, that is a terrific version. (1995 on the Later show according to a search on youtube). That bassline is great, hypnotic and precise with some nice low notes.

Funnily enough, I've got a GK MB500 and the headphone output is actually driven directly from the ICE power module via dropper resistors. If I look at the signal with a spectrum analyser (just REW running on my PC and using an audio interface) it is atrocious with all sorts of HF noise and artifacts - basically the switching crud from the class D power amp (which is made much worse without a proper low-impedence load connected). It's not a problem for my GK as it doesn't have an aux input, so I'm never going to use the headphone facility on that anyway. I wonder if the RM does the same? Bad design choice if there's an aux input.

Fender 1st fret action spec is 22thou, or 0.55mm. Usually the range 0.5mm to 0.6mm is typical. Very light action players might be able to shave it a bit lower, I’d not get away with it without buzzing.

Good advice. Also beware that most (all?) of these multitools are metric allen keys whilst many instruments use imperial sizes - e.g. USA fender basses usually have 3/16" truss rod adjust and 1/16" bridge saddles (and knob grub screws). (cue personal rant about 1.5mm allen key not being suitable for 1/16" screws - it can round the hex out making it almost impossible to shift - like the knob grub screws on my old mexi bass!)

Wheels are a bit small. I just had a look at mine and it has 18cm diam wheels - that means you can manage it over kerbs and low steps when fully loaded. The smaller the wheels the flatter the surfaces need to be to roll properly.

Errrrr.....I like it and I think I actually sound quite a lot like that when I dig in on my P-bass 😕

Putting a very slight taper on the end with a bench grinder first is also a good move.

Nah, theory is the least of my problems. It's not rocket science. I'd put down my inherent limits to physical dexterity/co-ordination, memorisation of complex lines and ear training as my primary issues.

I have a much older version of something like this: https://www.racking2go.co.uk/trucks-trolleys/sack-trucks/folding-adjustable-sack-trucks/60kg-telescopic-folding-sack-truck-12252.html (the handle folds on mine instead of telescoping). I used to use it for large combos back in the day (I had a Peavey Combo 300 for many years). These days I could get my 2x10 cab and equipment bag inc. compact class-D amp on it and then my bass in a gig bag on my back for a single load get-in.

I seem to recall the Mesa chap that posts on Talkbass saying that their cabs are specifically designed to work together re. tuning / response etc. @agedhorse is who I meant.

That is fab!

It looks like something designed to play one particular song. I just can't imagine what that would be.