Boodang

I only buy amps that go to 11.

Famously the Kubicki basses have a high output level (so not many!) but these days most onboard preamps have sensible output signal levels.

The worst for me was Fender's attempt at a Jaco signature. The Squier VM fretless had a resin board and was closer to the mark.... and 3 grand cheaper!

To a certain extent the boosting thing is correct, it's just a different way of looking at it. The preamp will have an ideal signal level and passive inputs normally have more gain than an active input to try and achieve that. And that's where you can get a problem with a 'hot' signal where the gain applied exceeds the headroom and causes clipping. Impedences often get forgotten about but is a crucial part of the circuit.

TC Electronic Plethora X5 could be a good fit if you know what fx you want to you use.

Would a Zoom B6 do the job? A lot less expensive!

Strings.... for a certain scale length and string diameter there will be a corresponding tension that's needed for a particular pitch, however, the construction of the string will determine it's flexibility. I have a set of the Galli Synthesis flats, these have a nylon core and consequently are the most 'flexible strings I have played. A lot of flats can be quite stiff so worth asking around, I prefer flexible strings hence the Galli's and TI flats. As for nylon, I find the D'addario tapewounds much brighter than the LaBella's so depends on your preference.

General speaking the active and passive inputs on an amp are related to the level of signal they can handle. Passive output basses are not going to have a 'hot' signal, whereas an active preamp could. So, a passive amp input is geared for a lower signal and more gain, an active input will cope with a higher level signal (which might otherwise overload the passive input). Also, there could be a difference in impedence. A passive bass generally will have an output impedence of 10k, but an active preamp might have a lower impedence (the Sadowsky is 1k whereas EMG stick to 10k even though it's active and most line drivers will be 600ohms). Worth checking the specs on your amp to see if the inputs have different impedences. So long as the output impedence of the bass is less than the input impedence on your amp you're ok, so 1k into 10k is good. The other way around is bad and will act as a filter, so output 10k impedence into input 1k is not a good idea. Most amps and pedals will have a high impedence, say 1Mohms, to make sure everything going in will be below that.

I have to say that in terms of SBL you'll be putting in hard work if you do one of their courses.

I play with two amps which I put either side of the drummer. Partly so the guitarist can hear me on the other side of the stage and partly in case an amp fails.

Ah, this is such a familiar problem, I open up a kitchen cabinet and a SVT falls out, the washing machine turns out to be a B15 portaflex, the fridge freezer is really a long lost 8x10, and my wardrobe in reality is an old Acoustic 360. I must stop storing classic amps around the house, it's so careless of me, and slightly confusing.

Turns out it's an arpeggio based course. Despite the hype I found the exercises were really useful.

£5K.... you'd have to pay me more than that!

Clown vomit green!

Actually, SBLs fretboard accelerator in practice is nothing more than just good old fashioned basics and hard work put into a scheduled routine to keep you on track. Lots of hype maybe, and certainly no magic bullet, just solid fundamentals.

Ah, see that makes sense now. For years I've been trying to get to grips with playing my stick but all I've managed to do is put a silly grin on it's face...

Optimum design features are why for me, BGs are not just a lump of wood. PS if your Sire feels great but is not the best sounding have you considered replacing the pups/preamp? That way it would be perfect.

Sound is not the only issue, there's also playability. My Squier jazz sounds as good as my custom, but my custom is way nicer to play. In that respect it's not just a lump of wood. Now if you're perfectly happy with the way your Squier plays, then you have a bargain, but I have to say the compound radius '61 spec'ed neck, smooth set neck joint and contoured body on my custom is a work of art, sublime to play, and as far from a lump of wood as it's possible to get. To call it otherwise would be an insult to the luthier and as good as the Squier CNC machine is at pumping out a very decent mass produced BGs, there's no comparison when it comes to playability.

Well, I'm assuming after 2 years the op has built the bass by now, but just in case there's been a bit of procrastination, my suggestion is walnut. Just had a jazz bass made from 'gunstock' walnut and it's my new fav wood of choice.

Bare in mind that one of the drumming fundamentals is throwing sharpened drum sticks at recalcitrant band members!

For a sound check it obviously has to be flight of the bumblebee, although not as slow as the original.

Always got a good sound from a TE 4x10, but always good back ache as well! Now I'm playing mostly EUB or fretless the ported 15 works better and the Icoa does it well, and lighter!

I also get that issue with traditional bass cabs, even my little SWR baby blue. The best solution so far, and what I'm doing with the pa cab, is to put on a stand at head height.

So, I've just bought a LD Systems Icoa 15a to use as my bass cab. 15", ported with a coaxial horn, 300watt rms amp, 2 xlr combo channels and eq presets. My preamp is a pedalboard so the front end is sorted and the sound from the pedals I just want to amplify, so an active pa speaker seems ideal. It's early days but so far it sounds good; fairly neutral with a slight bass emphasis from the ports. Ive had many rigs in the past, including Trace Elliot and SWR, but I can't see that a dedicated bass guitar amp/cab is going to be any better than this and would cost considerably more (the icoa was £400). Does anyone else use pa cabs instead of bass rigs?