BigRedX

It's all subjective.

The neck would have to be 50mm or 2" shorter than a conventional 34" neck for this to work without needing to move the bridge. Since the photos show the neck to one fret less than a standard Fender P-Bass neck that won't be the case.

Your typical Basschat poster has largely outgrown the typical bricks and mortar music store.

Best practice would be to bring the PSU onto the pedal board so all the low-voltage cables can be firmly fixed in place where there is much less chance of the being damaged and then run a nice chunky mains lead to the board.

What's wrong with altering the EQ elsewhere in your signal chain?

It also depends what sort of a low B sound you want. Some down-tuned styles seem to require a loose floppy string, others don't. IME If you want a nice balanced feeling and sounding low B you need the right strings coupled with a stiff neck and a tight well-made neck/body joint (or through neck construction). Also look at lowering the pickups slightly from what is usual with a standard 4-string bass. The fatter the string the more likely it is to be influenced by the deadening effects of the pick up magnets. Finally I always go for a slightly heavier than standard string for low B. 130 would be a minimum for me - ideally 135.

And maybe a slight slackening of the truss rod as the low B is quite a bit lower in tension than the G.

IME good band photography is mostly down to the skill of the person behind the camera, but it does help if the band and the space they are performing in are photogenic and appropriately lit.

@ped and @Muppet, either I have a completely different version of the NUX wireless system or there is definitely something wrong with your devices. I've just done a fairly critical listening test on headphones turned up as loud as I felt was comfortable, and I can't hear any of the artefacts that you are describing. I'm listening via my Line6 Helix on a patch with all the modules turned off so only the AD-DA convertors should be affecting the signal. Admittedly, now I'm in my 60s, my hearing isn't as brilliant as it could be, but I can't discern any additional background and no "gating" sounds, which from your descriptions should be at least detectable even if my hearing is no longer good enough to consider it a problem. Also the sound with the cable tone turned off is only slightly brighter and louder than using my 5m OBBM lead. With the cable tone function engaged, the jack lead definitely sounds brighter. Also I've done a couple of gigs where the PA engineers were complaining about a very low-level hum coming from our backing playback (which I've since managed to track down and cure), and if my bass system had been outputting similar audio nasties I'm sure they would have let me know about that too. Mine is the NUX C-5RC.

I think we've frightened the OP off...

If there is the option to wire both pickups in series then it has the potential to sound excellent. My old Burns Sonic had pickups in similar positions and due to the nature of the selector switch having both on wired them in series. This was the only sound I used because it was so good. On the other hand I really don't like the "Telecaster" style shape and from my experience I don't find it particularly well suited to bass guitars. I don't know why this new iteration of Shergold simply don't reissue their old models with less dense wood for the bodies. Surely that's what their target audience wants?

The pickup positioning of both the Gibson EB6 and the Epiphone from the OP suggests they were designed as 6-string basses rather than baritone guitars. There were also similar instruments from Danelectro and Horner around the same time.

IME you need to check with each venue that you play. We were told no smoke machines at the gig we did on Saturday and turned up to find that venue had one permanently installed.

Or you could use an external image host.

If had a spare £9k I'd probably go and try it.

But I don't want to play in a groovy modern Jazz unit, or big band, or theatre pit, or... and neither might the OP. In 50 years of playing in bands the only time I needed to know how to read or write music was for a short time in the 80s when submitting new compositions to the PRS it was necessary to score out the main musical themes of my songs. Even that isn't required these days. I've never been presented with tab or a score to play from, so I haven't needed to expand my reading skills beyond knowing what the dots mean, and I certainly couldn't play a piece from sight, but if I wasn't able to pick up a part by ear I'd still be stuck in my bedroom playing to myself. IME it is best to concentrate on the skills that are most useful to you right now. Learn the other stuff later if you start to find that you need it. Since the OP hasn't been back to post more information on their musical goals all this speculation is moot.

When I can find it, I'll dig out and take photos of Mr Venom's old Super 55. I had to replace the foam twice and he chipped a tooth on it more than once. Despite the fact that hasn't been used for a number of years it still looks pretty disgusting...

Are you serious? IME being able to learn by ear is a far more useful skill than being able to read. If you can do this then you can potentially learn to play anything you hear without relying on having it written down as either Tab or notation which may well be wrong. It will also help you work out your own bass and guitar parts if you don't want to do covers or compose your own music. Also IME when starting out it is important to concentrate on learning music that you enjoy listening to. Nothing puts beginners off quicker than having to play stuff they don't like and have not interest in for sake of "technique" and "development". I speak from experience; it wasn't until I started playing music that I liked that I showed any noticeable improvement in ability. I still say that the best thing the OP can do is to get out there and join a band. It takes away the safety net of playing along to records where the arrangement and tempo is exactly the same every time and the original bass line is there in the background to prompt you and disguise any mistakes you might be making.

Left musical equipment in hotel rooms loads of times without any problems. Also used the "left luggage" facility of the hotel when I've wanted to go and do some sightseeing or shopping on my last day after checking out again without any issues. IMO much. much safer than leaving it in an unattended motor vehicle. Also just heard from one of the other bands that we were playing with on Saturday, that they had their car broken into overnight at their hotel. Luckily they'd taken all the gear to their rooms.

Hurtsfall played at a private party in Wolverhampton which was more like a mini goth festival. It was the 50th birthday of a well-know person on the "scene" and she had asked us and 5 other great bands if we would play. We were on first and tasked with getting the event started, which I think we managed although the room didn't really fill up until a couple of hours later. Didn't play as well as we did on Tuesday (but I think that was an exceptional performance) but no-one in the audience seemed to notice and that included several people who are now very familiar with our music. Sold a ton of merch and then were able to relax and enjoy the other bands. Because we were staying until the end, we'd booked a hotel which turned out to be less than salubrious. I don't know what else was happening in Wolverhampton but even 6 months before the gig it was impossible to get anywhere decent and close to the city centre for what I would call typical "Premier Inn" hotel rates. Everywhere with rooms was either miles away, crap or stupidly expensive. However that was the only downer of the weekend. Obligatory live pics (there may be more later): Next gigs are in two week's time in Sheffield on 23rd November as part of the In The Bl4ck Mid-Winter Festival and then on the Sunday in Nottingham playing a Rock Against Racism weekender.

Today sees the official release of the new Hurtsfall single "Lost Souls (Driving at Night)". Available on all major streaming and download platforms as well as on CD from us at gigs where it also comes with an exclusive new mix of one of our most popular live songs "Calling Out".

Why does this happen? In 50 years of playing amplified music I have had a grand total of 2 amps go wrong: 1. was down to a design fault on the amp (Ashdown Superfly) a badly made piece of crap and one of the reasons why I will never own another Ashdown product. 2. was user error when I mistakenly plugged both sides of a stereo power amp into the same cab and let out the magic smoke. Anything that was properly made and not subject to user stupidity has performed perfectly for all the time I have owned it.

Join a band. Nothing moves your playing forward as much as interacting with other musicians.

The Behringer doesn't have any patch memories. Those buttons are for storing sequences. Also from what I can recall of a couple of hands-on session with the Korgs there are only one set of controls per module type, so to access a second EG or Oscillator requires using switches or buttons.

I used to own a few suitably old basses, but the sorts of instruments I want to play at the moment weren't available 50 years ago, so I don't have any now.