BigRedX

And as you can see underneath all those fancy woods, it's essentially a P-Bass so the BBOT bridge is the perfect solution.

You can't own a .eu domain name unless you have an EU business address which now no longer includes the UK.

As I've said in previous threads when this question has been brought up, once the bridge has been attached to the body, in mechanical terms they become a single item, so the added mass of the baseplate on a "high-mass" bridge is negligible when taken as a percentage of the overall weight of the body and all the other things attached to it. What does make a difference is that most high mass bridges are better engineered than the original BBOT, especially in terms of preventing lateral movement of the individual saddles, but that is it. If it was me I'd pick a bridge for its looks and ease of intonation adjustment.

There was a thread about this on TalkBass and apparently the bass was previously owned by someone who played left-handed and removing the "upper" cutaway was their solution to better high register access.

What DAW are you using? It may well come with it's own drum plug-ins.

The EMO DI boxes I have, are fitted with 3 sets of inputs, Instrument, Line and Speaker. Both Instrument and Speaker are loop through.

I won't be able to get accurate dates until I have access to the computer I do my ebaying on next week but IIRC I bought mine from Ishibashi U-Box some time around 2008 and sold it on back to Japan around 2014.

Low B will be considerably lower tension than the G it is replacing, so you may need to slacken off the truss rod. Loose feeling B is down to the gauge of the string and construction of the bass. IME neck through is always better for low B compared with bolt-on construction, and going slightly heavier on the B always helps (don't worry you have to go extremely heavy on the gauge before it's a higher tension than typical G). You will need to experiment with string types before find the right ones for you and your bass. Warwick Black Label suit me very well but my bass is quite a bit different to your Warwick.

TBH, in the early 2000s they weren't that uncommon, The UK importers had a load and just about every shop in Denmark Street had one on display. However all the ones I saw in the UK had noticeable casting marks on the body, something I'd not seen on any during my previous trip to Japan. I wasn't impressed with the finish of the ones I'd seen in the UK and ended up buying mine from Ishibashi. I believe @Bassassin bought one of the UK imported models. As I said when I moved it on, it went back to Japan. It could be the same bass, but my photos were taken about 15 years ago, so even if it is, they will hardly be representative of the current condition of the instrument. There is a really rare 80s version that I have only ever seen in a Tokai catalogue.

Be wary. Two of those photos are ones I took of the bass I used to own, which when I sold it when back to Japan.

Black label tapered B is easier to get hold of than the Red Label version.

Other than needing to maybe widen the nut slots what problems did you envisage?

Using a pick changes the attack of the notes relative to their decay. There is no way you can replicate that with EQ.

I went pretty much straight from playing a 30" scale 4-string Burns Sonic to a 36" Scale 5-sting Overwater Original, and while I knew the Overwater was longer scale I didn't appreciate how much longer it was until I bought my first set of replacement strings and the standard long-scale didn't fit. As someone who plays lots of different stringed instruments, scale length and string numbers doesn't really bother me until they start getting really extreme.

I think if you the member of a band whose album you were recording was likely to sell as well as "Let It Be" did, your attitude might not be the same. I know mine wouldn't.

There is no standard, and if the bass has been well made and you have the right strings for it, then it doesn't matter from the PoV of sound. I've owned 5 string basses with 34", 35" and 36" scale length. The 35" scale length ones were definitely the least good in terms of sound. The best one I owned was 34". IME it's all down to the construction, rather than the length, and you need to go to 36"+ before length alone starts to make a difference.

It's a while since owned mine, but IIRC in the photo from top to bottom it's Volume, Pickup Balance, Treble, Middle, Bass (the three tone controls might be reversed but it will be obvious what does what by simply turning them and listening to the change in sound).

This was experience with the Warwick StarBass I owned, hence the reason why I asked what you wanted the bass for. Th increase in volume when played unplugged was minimal compared to my solid basses, and TBH without amplification I preferred the unplugged quiet sound of my Gus basses - the Warwick sounded quite "thin" by comparison. Plugged in of course it was great.

The closest I have on-line would be the latest single "Stars" by my band Hurtsfall. This is a Burns Barracuda Bass VI strung with Newtone Axion round-wound strings into a Roland JC120 combo sim on a Line 6 Helix. There are additional effects, mostly chorus and auto-filter on the sound, and I used the middle pickup rather than the bridge and a nylon rather than hard plastic pick, but you should be able to hear that it's starting to get into the ballpark for the sound that you are after.

I've never had a problem getting a twangy sound out my short-scale basses with standard gauge strings (100-40) when playing through a guitar amp/combo. You do need a bass with the bridge pickup close to the bridge as in the video.

Assuming that audio on the video is produce with the instruments being used, I would suspect the following: 1. Short-scale (30") bass stung with round wounds. 2. Single coil pickups with emphasis on the bridge pickup. 3. Into a guitar amp with plenty of bass cut and upper-mid boost. 4. Hard plastic pick.

What do you want to use it for?

I take it you need to be able specify specific MIDI channels for the MODX. Do you need to set keyboard splits too? There used a plethora of stand-alone devices for manipulating MIDI data, but since most people have a computer to Tablet somewhere in their set up the need has all but disappeared. With this in mind have a look at second-hand devices from either Philip Rees and Kenton to see if there is something they made in the past that will do what you want.

If you have a look at this page for the EB3 and this page for the EB0 you will see that the design of both changes other the years, and while knowing which year your basses you are considering were built helps, you really need to play the actual ones (or ones with exactly the same spec) in order to know which one is going to suit you. In theory the EB3-L should be more versatile, but in practice the EB0 might turn out to be exactly what you are looking for.

As other have said no one NEEDS anything. There are plenty of instruments available as alternatives to the 4-string bass guitar and all of them are valid instruments for playing bass part. Most of what I (and probably what a large majority of bassists on here) play could be done on a couple of 2-string basses, but no-one is suggesting that we should all ditch the redundant 2 strings on our 4-sting basses. As an owner of an Atlansia Solitaire Bass, I once took it to a rehearsal for my Dad Rock covers band. I was able to preform an acceptable bass line on it for almost all the songs we did, and in many cases actually replicate the recorded bass line perfectly. It wasn't as easy as using a bass with more strings, but that's not the point. It could be done. So you don't actually NEED a 4-string bass. If you are a good enough player 1 string is sufficient. Alternatively you could get a keyboard, or a tuba, or just sing...