BigRedX

They look different. They may change the sound - although whether which one is best is entirely subjective and most likely unnoticeable in a full band mix.

Here are the ones I used to own: Born To Rock F4B: Atlansia Solitaire Fretless Hondo Alien:

It is perfectly possible to get away with only one bass. I think on here we spend too much time agonising over the details of different bass sounds, whereas in reality on stage and even in the studio one good bass will do the job perfectly well. Even in the days when I had a lots of basses I was mainly using one (and a spare) at any one time for any given band. If you intend to play live in a band where it is important not to break the flow of the performance then you definitely need a spare. Or alternatively you need to practice changing strings (and retuning) until you can do it in under a minute in near-darkness while drunken people shout at you. I'm down from well over 40 basses to just 4. I play in two very different bands that require very different basses so I have two 5-string basses (one main and one back-up) for one band and two Bass VIs for the other.

It's a device that along with the IEM system he's using, renders the rest of his bass rig pointless.

Any non-gloss finish is going to eventually buff up to a shine unless it is heavily textured.

DaVinci Resolve. The basic version is free and then there are paid-for upgrades if you need more features. We used it to make the Video for our cover of "She's In Parties".

Just had a look at the amp in question and with no master volume control you are going to need one to get a decent overdriven sound at low volume. Also with an output of only 15W, pretty much any good quality power attenuator will be fine. However bear in mind that some of the distortion tone might be caused by speaker break up which you won't get with an attenuator. Also is the speaker in this combo attached to the amp section with a jack plug or hard-wired in? It isn't possible to see how it connects in any of the photos I found on line. If it is hard-wired you will need to cut the speaker cable and fit jack plugs to it in order to use an attenuator, and depending on much or little cable there is you might need to extend the leads too. Speaker cables tend to be as short as possible in combos. With the H&K Tube 50 the lead for the speaker which was on a jack plug only just reached to the PowerBrake when placed on top of the amp, and this was about 3" further away than where the speaker plugged into the amp.

Don't see what they should. A properly designed speaker attenuator should present the same load to the amp as a speaker would.

To the OP: Can you let us know exactly which Fender amp you want to use the attenuator with?

Great for guitars if you like the tone of overdriven power stage valves but aren't bothered about speaker break-up as part of your sound. Less useful for bass for all the reasons given above, plus nearly all of them are only rated to be used with amps of 100W or under. I had the Marshall PowerBreak which I used with my 50W H&K guitar amp. Anything much more than mild distortion sounds would send the cooling fan into overdrive and kick out a good amount of heat. After a couple of hours of use at home playing volumes the casing would be almost too hot to touch. I wouldn't fancy using one with a typical high output bass amp.

My OCD likes angled pickups even less than the pole pieces not all matching up with the strings. Plus if you use the pickup as a thumb rest it's really uncomfortable. I speak from experience.

The pole piece positioning relative to the strings shouldn't matter, so it will be mainly down to whether your OCD can handle it. Mine wouldn't be able to - especially if this was a bass I was building myself. I would want everything is perfect as my wood-working skills allowed. I also wouldn't be able to cope with angling the pickup so that the pole pieces did line up. In many ways that is worse. If it needs to be done for tonal benefits then I would have to hide the pickup under a rectangular soapbar cover. What might be more important is how you like the string spacing with the bridge set up like that. When it's your own build don't compromise simply because you have mistakenly bought components that aren't the best ones for what you want. Get them changed for the ones that are right.

It will also depend on how wide the neck is at the body end. Are you making your own neck and therefore it can be what ever width you want or do you already have a neck that you want to use?

The problem with this method is that the EQ fix, if possible, will only work at the location where the measurement is taken. It tells you nothing about the sound at other locations in the room. If it was possible to fix room acoustics with EQ only then studio control rooms would be able to dispense with all the expensive and bulky acoustic treatment and simply stick a 31 band graphic EQ across the monitor output. I appreciate that acoustic treatment isn't really possible at most venues, but musicians need to be aware that EQ fixes are by no means universal. EQ'ing to make it sound good where you are standing is just as likely to make the sound much worse in other parts of room.

The other thing to remember, is that for venue supplied backline, just because a particular piece of kit is being used doesn't necessarily mean that it is the right sounding one for the band. I've been in this situation as a musician many times at gigs where a back line has been supplied and with quick changeover times required there simply isn't time to agonise over the bass tone, when your are fighting against the guitarist(s) doing the same and the drummer micro-adjusting the kit and playing it at the same time. Most of the time I'd simply plug in and so long as I could hear myself and it didn't sound too horrible on stage, I'd make do and hope that FoH the sound and balance of instruments was better. In these cases I certainly wouldn't have wanted the bass in the PA to match what I had on stage. So a quick word with the bass player before as they set up might be worth more than trying to replicate a cab sound in EQ. The above scenario is one of the reasons why I have ditched my extremely expensive rig in favour of a Helix and an FRFR as my personal monitor.

Nearly every single item that I have bought over the last 3-4 months be it musical or not, has arrived when I was told it would and in two cases a day earlier! The only items that have been delayed were those that were not sent out on the day that I ordered them or were not actually in stock at the place I bought them from. I have no complaints about the delivery service only only stores that can't process orders in a timely manner or lie about stock levels.

If I ever need to replace my OBBM cables I'll probably go back to making my own. I have a load of XLR and Jack leads that I made up in the late 80s and early 90s that are still functioning perfectly. The only reason I didn't make my own last time around is because OBBM's worked out cheaper once I factored in the cost of my time to get out all the tools and make them up myself!

Isn't that the whole point of resonator guitars?

It really depends what you want it for. IME most acoustic basses struggle to keep up volume wise without amplification unless your fellow musicians all have a very light touch, so most of the time for gigs your acoustic bass is simply there for the looks. If I was playing in an acoustic band I'd have something fretless with Lightwave pickups and strung with TI Flats. For practice, for me I don't see the point. If I'm practicing I want to playing the instrument I'm going to playing when I do it for real. In the same way I don't practice sitting down because I don't play live sitting down.

But in the first case that's just the speaker cables, which ought to be reasonably short runs, and IMO the effectiveness will be marginal when you consider the metres of non-silver core cables the signals will be running along first before they reach the amp to speaker connections. In the second case at approximately $10 a foot I really can't see anyone using this for EVERY SINGLE cable in their studio without some sort of super discount endorsement deal. Even a very modest home studio will quickly rack up the cable lengths required to keep everything connected, and if you believe in the superiority of these esoteric cable then you also have to believe that every time you run the signal through something of a lesser quality you are adversely affecting it. So either all of your cables need to be these special ones or you might as well not bother.

But they don't use anything esoteric either. It will just be ordinary, but good quality cabals and connectors that they have negotiated a deal on to buy in bulk. How long ago was this? Wireless technology has come a long way in the last 10 years. But like all things it's the law of diminishing returns. Once you reached a certain quality point - generally Van Damme and Neutrik - any further improvements tend to be vanishingly small and guaranteed to be inaudible in your typical band mix.

Or on any Bow Wow Wow track.

This bass has been "Out Of Stock" pretty much forever. It came up on another thread about Bass VIs about a year ago when the wait time was 6-8 weeks. I've been keeping an eye on it because the price is pretty good even if the string spacing is probably too tight for my liking, but AFAICS it's never actually been available to buy, during the last 12 months. Either it's not being made at the moment, or it has so many pre-orders that it is immediately out of stock again as soon as any become available.

Shipping on the Eastwood Shergold copy now looking like early July rather than June.

IMO by the time there's zero chance of catching Covid-19 there will be something just as bad if not worse.