LeftyJ

Quick question: how do the SVT-IIP and the SVP-PRO compare, tonally? I know the PRO has somewhat more tone shaping options and the addition of useful added connections like an FX loop, tuner out, and a bright switch rather than a bright input. I have the SVP-CL and SVP-PRO and love both (but only use the latter). I've been looking at the SVT-IIP as well, either as a backup or as my home recording / practice setup.

LOL, you were just in before the edit

Well MY audience prefers the bridge pickup in the 70s position. Kidding, of course. However, I regularly do have other bass players (either in the audience, or from the other bands we shared the stage with) comment on my tone. While I definitely don't play for the bass players in the audience, their comments are most valuable to me

It is not often that I buy something twice, but at one point I had two Ibanez ATK300L's (and an identical 5-string ATK305) and three MC924's. I still have a tendency to get a 4-string and 5-string of the same model - I have a Warwick Streamer LX and an LX5, and a Status Graphite S2 Classic 4-string and 5-string. The ATK's are all gone, and only one MC924 remains.

It looks different enough from the regular Star Bass, with its offset waist and cutaways compared to the symmetrical design of the regular Star Bass, and it has a proper forearm contour. Those are some major improvements over the standard model, and really set it apart. Very nice! I don't like the contrasting forearm area on the German custom shop models (or the 10k price tag), but the regular model and the Rockbass version look sweet.

Warwick says hi. I really like the concept of these torzal guitars! I think Lace made some too at one point, I think I recall the Lace Helix with a torzal twist neck.

Melodic doom metal with Dutch lyrics (in the case of this song, inspired by the courage of the Ukrainian people standing up to their suppressors). Not gonna happen.

This. I'm like this too, I have basses sitting in my rack that I never ever play but they would be incredibly hard to replace when seller's remorse hits. At the same time I have to admit that out of the 70+ guitars and basses I have owned there are only about three that I actually miss. And there have been a few instruments that I just wasn't ready for, and which I would appreciate a lot more now than I did when I owned them. One was a very high-end Human Base that was built for the now-gone German bass store "Mr.Bassman". They had two bass models based on regular production models, one being a Clover Slapper with some custom features and one being a Human Base Base-X neck-through with a rosewood top, Bartolini soapbars and 2-band electronics. They called it the Mr.Bassman "No Sweat" and I would love to have it back. It looked like this but lefty:

I forgot all about those EDC's with the ATK pickup and electronics! What a beast 😎

And an Affirma, the "original" on which the EDA was based, designed by Rolf Spuler!

"Wow, that guy's bass looks and sounds awesome, but I don't recognise the headstock!" "Me neither. I think the logo is... drawn on with sharpie? And the tuners are mounted in this supercool fan pattern! I want one."

I play in a band that plays melodic doom metal, with three guitarists. As far as gear is concerned, they're very different. One doesn't really care about gear and has stuck with the same Ibanez 7-string and Engl Fireball halfstack for well over 10 years because it just works for him. He uses just a few pedals, most importantly a digital reverb with a blend knob so he can dial out the dry signal entirely. One uses a 7-string through a Hotone Ampero II and a Friedman FRFR speaker as a monitor, and it's brilliant. Compact, lightweight and sounds great. The third guitarist plays a Jazzmaster through some analog pedals to shape his tone, and will just plug into the input of any clean amp that's available to him. During rehearsals that would be my small 20 watt 1x12 Koch Studiotone combo, and for gigs we'll often bring that along too.

Me too, but the element of surprise had lost its effect by the time I reached the 5th post

I like to use relatively thin B strings. Someone once recommended I try a 0.125 and I haven't looked back. It has a faster attack than a fatter string, it feels less rigid, and intonation improved across the board because of the reduced rigidity. It still sounds plenty tight as long as the neck of the bass is rigid enough - I get the best low B from my graphite-necked Status, with Status' own taperwound stainless steel Hotwire strings. I use non-tapered strings on all my other basses. None of my 5-strings are currently passive though, but I'm not sure how that would make a difference. One of them has an active/passive-switch and sounds equally good in both settings. The Status always has the EQ engaged, and my Warwick only has an EQ bypass but has active pickups so it's never truly passive.

That's OK, they take up little space.

No nicknames for me, I usually just call them by their model name - my Jazz, my Musician, and so on. With the colour or the number of strings added if I have more than one.

I like when big manufacturers build something out of the ordinary for an artist, rather than just make a version of a bog standard model that just has a different finish or some subtle difference. For example, the Fender Roscoe Beck or the first Stu Hamm Urge (when it was still medium-scale) are really cool and unique twists that are familiarly Fender-shaped enough, but still the RB is not quite a Jazz and the Urge is not quite a Precision 😎. That said, I really like some more conventional models too that were based on the artist's actual favourite, like the JMJ or the Miller Jazz.

Yep! I briefly owned a PB57-50 which was basswood, and I have a JB75-90US with an ash body that can double as a boat anchor. Really fine bass, but it weighs a ton. Normally, if you're not sure (when they're a solid finish, for example), you can easily tell them apart by their hardware. The entry level models with basswood bodies will usually have smaller Gotoh GB-1 tuners and bridges with barrel saddles. The ones with alder and ash bodies will usually have more period-correct hardware for the model they're intended to reissue, with larger tuner base plates and threaded saddles. These limited editions are no exception, and also use the Gotoh GB-1's and barrel saddles.

Gibson did, back in 2011. It was a limited edition of only 400, but with a set neck rather than neck-through and without the trademark thinner body wings glued to a thicker core. https://reverb.com/item/65918329-gibson-limited-edition-thunderbird-short-scale-bass-03-06-2011-satin-ebony

There is though. The current issue Player Plus Jazz and Precision both have a mini toggle switch between the last two knobs to switch to passive. To echo your comment about the lack of subtlety: the passive mode is a lot quieter than the active mode. It really boosts and colours the tone a lot, even set to neutral.

I'm inclined to agree! It's definitely more elegantly styled, and the all-white Larry Graham style finish looks really luxurious.

That last one reminds me of Nathan East's headless Yamaha 6-string

Oh, that's lovely! It's got one nasty dent but otherwise looks great.

Cool Aria Pro II RSB Deluxe on Gumtree: https://www.gumtree.com/p/guitar-instrument/aria-rsb-ii-deluxe-left-handed-bass/1458155979

Can't find it! Got a link?