itu

Status. I would not save here, as that neck will be the sound. Reliable, ultra stable, worth every £. Of course the wooden sounds £90 cheaper now, but if you buy it now and the Status later on, you have actually lost £460. Well, you sell it for £230, but still no. Personally I do not like that faux, my choice has been black with no front dots, but this depends on the body colour. By the way, my second (MM) neck's back was tinted (extra) and has matt surface (extra). Works like a dream. Strings can be set very low, like with my Vigier. I have actually changed the body once, but I won't part with the neck. An extra nice touch from Status: Rob answered my questions via email and Dawn called me personally, when the neck was ready to ship. Talk about customer service.

@paul_5: - NE5534 is a single. - NE5532 is a dual.

Think about amperes as watts in your amp. You do not have to use every single mA (watt) the supply (the amp) has, but there is the reserve for different effects (loudnesses). It is always good to have some extra reserve in your PSU, so it does not have to push everything in the whole time it is on. Then it is cooler and lasts longer.

Wedding. Bride is stoned. Shouts us: play a Polaroid! Teachers are having a party. In between sets I ask a familiar looking lady if she is my old schoolmate Sarah: "I'm Hannah, but I can be Sarah, if you wish so!"

Glues are really strong. Even the Sydney Opera house was glued together. The practical forces that act in those joints are far less than a break point.

For a thick body and short scale, try a Bajo sexto.

Actually someone has opened the can of worms and Spectra's adjustments are available in the net. It is true, that some work is needed to transfer the setting to Hypergravity, but I needed the other knob.

Blending in some compression? Well, I do not blend. The signal is compressed or not. I have used the slightly modified parameters of the Spectra in my Hypergravity, and the blend pot is taking care of something else than blending. The three bands allow me to adjust the frequency bands to the wanted response.

2.4 GHz is an ISM band and works round the world. One example of this frequency includes Bluetooth and its versions. @BassmanPaul: I was talking about -5 ohm impedance, where some player believes s/he could get unlimited amount of watts, no matter how realistic that was. Watt is not the unit for loudness, although it is faintly related to the end result. We have all seen questions like: "Can I put twenty 4 ohm cabs to my amp output to get millions of watts out of it?"

GHS Long scale plus certainly fits, and D'Addario long scales fit even my 36" fretless. There's only one "but": some basses have bridges with string through body or similar system, which may take that crucial fraction of an inch from the string length and you may have an issue there.

This seems to be the amp that has all the most important things, like - preamp with eq on/off, and a fully adjustable parametric (for notch) - power amp with plenty of oomph, no, plain power to 8 / 4 / 2 / -5 ohm for maximum loudness (oh dear...) - chromatic tuner for the 13-string subcontrapiccolo monster - flat frequency responce 15 Hz - 22 kHz - wireless transmitter and receiver, no latency (naturally) - lightweight... tube amp! (yes, I had to) - DI out including IR etc. - mic stand (like guitarists... maybe not) - some kind of an emulator to change the bass sound with a flick of a switch (fretless, double bass, SR, J, P...) - basic effects (OD, fuzz, envelope, chorus, octaver, comp, etc.), and some extra - three pots for simplicity - £300

If your instrument is nice, is there a need for something totally different? What is you do not get out of your current bass? - electronics (pickups, eq...) - neck (5th string, 24 frets...) - body (weight, shape...) - design elements like colour Now, every reason to buy one is as good, because the right amount of basses is +1, as everybody knows. Sit down and take a good look at your bass. What else is in need?

www.ovnilab.com Electric equipment ages a little bit over time, but I would not consider that an issue. Maybe tubes/valves and speaker elements have a shorter lifetime than most of the other components. An instrument or an amp can easily be 30 - 50 years old and still be in very good shape. When a unit is broken, you usually hear it. Or don't hear anything at all. If you count the hours any of your musical unit is on, you could see that the amounts are still very small compared to let's say, a refrigerator.

No lines, glow-in-the-dark side dots at the frets.

Maybe a Status inspired Bendwell?

Maybe it is easier to start with the original country, Serbia. 150 000 Serbian dinars is around £1100. Sounds reasonable, doesn't it?

I think that the mixing will change somewhat. But is it a big / meaningful change, that is up to you and your ears.

This is very common signal path: blend - vol - eq - output, where blend and volume are hi-Z, but eq and output are low. To build a mixer is a bit more complicated than just use (cheap) passive alternatives. John East and Audere have active blends. MN = balance pot, where the tracks are cut at the center detent. If you change the 50k to 250k, you probably hear the change close to the center (the other pickup is fading faster) or in the ends. You can try both if you have time to tinker.

Ha! You have learned the same as I have. Colour coding was very helpful in the broadcasting studios. Today there are no people claiming my high quality silicone cables their's as the colours are different, like green, red, yellow, and pink! Now I know you will make it happen.

As @Dan Dare wrote, start with the budget. Think about the other details, too. Here are some: - cables - they cost a bit more than you thought, and reliability is not free (Neutrik, anyone?) - good looking and reliable stands (speaker, mic, note) are more important than you may think, after all you want to be heard and seen - do you have a car where everything fits? - if the system is complicated (like tons of cables), who is able to put it together when in a hurry and lights are still off? - cables should be marked (they are yours, aren't they?) and you can find your personal ones in the crowded and awfully dark stage (this also includes power, line and mp3 player cables; I downright love colours) - buy lots of velcros and learn to wrap your cables - one cable broke or is missing, do you have any spares? - do you carry the important stuff in decent carrying cases - or in dirty and thin plastic bags? "Oh, it seems to rain... well, let's carry those to my new car, one by one, from that muddy road." (Depending on your mileage, you may add some colourful words to these sentences.) - did I mention cables? Our 12 person band has a pair of JBL PRX735 active speakers. They are BIG, but not a single member has anything to say about the sound quality or loudness (up to 133 dB). They are for singers (4), kick, piano&keys, woodwinds (3) and sometimes the guitar. Our mixer is a 24 ch remote controlled Soundcraft. IEMs we have already bought, but the learning process has only started.

G D A E B F# (major) e b f# c# g# d# (minor) F Bb Eb Ab Dd Gb d g c f bb eb (If I could move the minors a bit forward, you could see, that sharps start from the fourth major, and flats from the fifth.) Now, when you see the first bar of the score and there are 4 crosses, you know immediately, that it has to be in E major, or c# minor. If there are 3 b, the score is in Eb major or c minor. f# c# g# d# a# e# b# ...and the same backwards: bb eb ab db gb cb fb These are the sharps and flats in this order in the score. Don't you think this is important? If not, you probably play without chord and note information.

One more thing, just my personal finding: Compressor acts quite like a fuzz. Some work better with lo-Z ("active") basses, some with hi-Z ("passive"). I would try the possible contender with both types, if your arsenal has both. If your systems has a few pedals and the comp is the last in line, it probably plays no role.

And one more point, to be clear: I like and value high your way of using different headphones to get the best out of them, dear @Lunatique