BigRedX

Two completely different instruments IMO. I use a Bass VI (tuned E-E) with one of my bands and the top two (and sometimes 3) strings definitely need treating like a guitar rather than a bass for the best effect. I've also experimented with E-C 5-sting on a standard 34" scale bass and I couldn't get on with the sound or feel of the C string. At best it sounded like crap jazz guitar when playing it.

IMO the way to Improve a Sadowsky's tone is to turn the pre-amp off and role back the passive tone control just a touch. You do have to be playing it through a nice valve amp for it to be completely effective though. BTW this isn't a dig, but the result of spending a pleasurable couple of hours in Sadowsky's NY showroom (when they were still located in Brooklyn) trying out all their available basses.

IME manufacturers of "lower cost" items such as strings do seem to be more approachable about endorsement deals. Their main criteria is generally that your band is active gigging and recording (and releasing those recordings) and that you are prepared to "big up" the product as much as possible.

It's crying out for a Gibson 3-point bridge. 😉

The sorts of stresses that your cab (not amp?) has been subjected to in order to cause the magnet to become detached mean that even if you could successfully re-attach it you'd most likely find that there was more damage to address in order to get the speaker to work properly again.

There is no "neutral" on a bass amp (or cab) by their very nature they are designed to produce colouration.

I started just as it became possible to do decent layout and typography on a Mac in 1989. I can remember spending ages creating custom kerning tables in Quark Xpress for some of the less "professional" typefaces we had to use. Regarding the ad, all the corners of the type look just a little too rounded to me suggesting that it has been re-photogrpahed on the process camera a couple of time too often. But then again that was the norm back in those days. You had to be a very important (and well paying) client to have your type re-set every time you made a copy change.

I may have misunderstood what you wrote, but in my book ethernet should be far superior to USB in terms of just about everything.

You would have probably paid quite a lot for the design and artwork of something even as simple as this, as it required access to specialist skills and expensive equipment that were strictly for graphic arts professionals.

It doesn't look wonky enough to be Letraset, so I'm guessing this would have been done on typesetting machine. This was a rudimentary computer that controlled a photographic imaging process to produce the type. Changing the typeface (including getting bold and italic variants) normally meant fitting a different photographic negative with the required character shapes, and everything else was done by inserting various codes into the text that controlled the type size, line length and alignment. Since you couldn't be 100% certain what you were going to get until the program had run and the results had been developed in the dark room, a lot of the time it was simplest to run everything at a single size ranged left and then cut up the results and use a process camera to resize them to fit. The finished design would be assembled on a piece of board, cutting and pasting the various elements into position. If you wanted colour you would specify it on a tracing paper overlay, and the repo-house would work their magic to turn black and white artwork into a full colour print. The process was long-winded and time consuming and often the client would have revised the text before you'd even got the first version out of the developer, let alone stuck down onto the artwork board!

Ableton is very much perceived as a specialist tool for musicians working in live electronica. What most people want from a DAW is a multi-track "tape recorder" running on there computer. Let us not forget that even the most expensive a DAWs are now incredibly good value for money compared with what you could have spent 25 years ago. Today a copy of Logic Pro X is £199.99. When I bought my first copy of Logic (version 2. something) is cost at least £399 and all it did was manipulate MIDI data. There were no VST instruments back then, so on top of the program and a computer to run it (in those days you most likely bought a computer specially to run Logic), you would need a MIDI interface, and hardware synthesisers and samplers to actually make the sounds. You would also need something tape-based to record your compositions on to (and a mixer and outboard signal processors). You could get an add on to Logic on for recording audio (provided your computer was up to the task) which was another £399. ProTools back then was essentially a hardware-based solution that used the computer merely as a visual interface - the ProTools hardware did all the heavy lifting in terms of recording a manipulating the audio data. My first Logic system cost me about £2500 for the program, a computer to run it on, and a MIDI interface. I already had several thousand pounds worth of synthesisers, samplers, outboard signal processors and an 8-track analogue tape machine and mixer to record it all on to. By the time I'd worked my way up to what could be considered a "proper" DAW, I'd spent another £6k on a better computer, audio interface and a digital mixer. It still had less capability than the cheapest system you could put together today.

We had one of those in 1983 before we upgraded to the KX5s (and patch memories). I hated the SH101 on a strap it was heavy and awkward, and the modulation grip wasn't that good (IIRC the pitch bend only went up if you use the grip control). Still it got some of the band out from behind our keyboards.

It wasn't supporting Clint Bestwood and the Mescal Marauders was it?

We did this just over a year ago. My answer hasn't changed since then.

But the tree basses you cite are massively different in overall construction, pickups, their placement and general hardware. How do you know it's the neck joint that makes the difference in sound?

I've never seen a guitar or bass with a neck so badly damaged that a simple (and probably invisible) repair wouldn't have sufficed that didn't also have a badly damaged body in need of replacement as well. Replacement of a damaged neck on a vintage Fender (and remember that now includes everything up to 1980 and will probably include instruments made in the 80s as well very soon) will hurt it's resale value just as much as a repair if not more.

Bolt-on necks are great for mass-produced basses, as they allow any neck from the production line to be attached to any body. There is supposed to be a tonal difference. There is a sound clip somewhere on line of three very similar Fodera Basses made with bolt-on, set and through necks which is about as close to a proper scientific comparison as you are going to get (there are massive design and construction philosophies between most bolt-on, set and through neck instruments that make comparisons based on the neck joint alone meaningless) and it does reveal some differences in the sound between the three construction types but nothing you would notice in a band mix.

Works for those particular strings on that particular bass, according to your tastes. That is all.

If you don't understand then those bases over £2k are not for you.

If changing the order of your pedals changes the tone too much (and it well might depending on how much drive the Sansamp is producing) just put a standard DI box after them, such as the Behringer DI100 Ultra-DI Box and use that to connect to the PA.

If you are running the chorus and phaser after the DI, how do the audience hear it?

Are you sure that the higher parts are actually supposed to be that high? Bass guitar is a transposing instrument and the parts for it should be written out an octave higher than the notes you actually play.

If it was as easy as you suggest pretty much everyone would be doing it.

It's probably not as far off the mark as a lot of us on here would like to think.

TBH if you need this explaining you really shouldn't be messing with circuits of any description, but here goes... Your switches will be DPDT (double pole, double throw) and should have the six contacts arranged in two rows of three in line with the direction of the switch movement. The centre two contacts are the ones always attached to the switching mechanism for each "throw" the outer contacts in each set of three are the switched contacts. Put your multimeter in audible continuity mode (for most beginners this is the most common setting you'll be using and if your multimeter doesn't have it you should get a different one), touching the two probes together will produce and audible tone. Touch one probe to the centre contact in one of the rows of three and the other to either of the outer contacts in the same row. If you still get the audible tone with the switch in the centre position then your switch is On, On, On. If you don't get a tone then your switch is On, Off, On. You could have figured this out for your self simply by trial and error with your multimeter.