martthebass

Just had to sniff mine.......I’d never noticed this but you are totally correct it does smell of maple syrup lol.

I was referring more to the stiffness rather than the movement of the neck with change in moisture (linked to expansion/contraction) but I see your point. If the stiffness has increased significantly then there could have been claim that deformation under load would be reduced and therefore stability increased - less need for rod turning with string load changes. Claims of graphite like improvement (non-hygroscopicicity not withstanding).

That's interesting. A loss of 30% in MOR would make you think that durability would be reduced with respect to tensile stress induced cracking (and subsequent propagation). If these results are carried over to hardwoods then the minor change in MOE wouldn't help stability though - I guess Sterling Ball wouldn't want to hear this. I suspect that in the typical loadings on basses however that the effects are minimal.

On the one side, in comparing my roasted neck (Ray Starry Night) to non-roasted neck (Sterling), I would say that most of the differences are cosmetic and that any sonic differences are over-ridden by the electronics package and possible the fretboard material (ebony on the Ray, one piece maple on the Sterling). As a materials engineer, I'm also interested by the material properties, they could have a bearing on the dimensional stability and the durability (ignoring sonics here). Strength is a vague term; I was concerned that the brittleness might be higher in the roasted; so far I've been lucky and my neck hasn't suffered impact to demonstrate failure due to brittle fracture. On the normal maple neck a couple of dings (later steamed out) showed no such tendency. I'd be interested to see figures for difference in strain/stress to failure (tension - as I'd assume the predominant failure mode would be flexural/tension) and MOE between roasted and non-roasted but I'd assume there was a lot of variance as wood is hardly an homogenous or isotropic material. In the meantime I'll admire the looks and play it with gusto.

I can’t rule out the rig, but the 4003 sounded fine through the same set up. Apparently there was a pot/harness swap that would’ve sorted it but the I’m happy with the swap.

I did but I hated the sound - indistinct fuzzy and no definition. Traded for a 4003 about 6 years ago. Still have it.

The Glam Rock Mustangs of doom!

Used one on over 130 gigs over the last couple of years. Generally been happy with the performance, good battery life, good indication of battery life, good indication of the level of interference. Latency has only expressed itself when I stray far from the cabs (>20m) so it's more sonic velocity than electronically induced delay. Construction is great other than the transmitter battery cover which is a bit fragile (as stated above), however Chris sends new ones out if they break so it's not really an issue. The receiver box is fine construction - I just Velcro it to the side of a cab. Would I buy again, yes.

I've got both though the LM3 is an earlier class AB Italian build, the LM3 is now in back up position and the MM the main. TBH the core sound of both is very similar to my ears and both are equally usable in gigging situations - I'd be surprised if many in the audience would detect the difference. I don't tend to stray too far from 12 on the eq either so I guess I won't notice the differences in the frequency centres too much - I generally use the 'Milleriser' or VPF filters which get me where I need to be quite easily. The only thing I prefer on the MM over the LM3 is the mute switch (and associated visual indication); they're both great amps.

I'd gig it! I've played the last 130 gigs (approx.) with a Squier Mikey Way Mustang and plan on playing at least another 130 with it.

Trying to do the seagull backing vocal is tough on the Talk Talk song it has to be admitted. Im also currently fretlessless, also sold far too many in the past....flats and chorus has to be sufficient these days (oh, another BJ reference.....)

Did you fretless ‘it’s my life’ H, I’m assuming here it’s not the horrible BJ song 😝?

Cheers LEB, nice to know. Bet the 50s feel like steel rope in comparison. Must sort mine out as the standard set are spoiling my enjoyment of this great bass.

I'm still in the age range that starts with a 5 but I've never been as busy musically. Just wish it could have happened 10 years ago. Doesn't stop me enjoying it now though.

I'll go second. #1 for me. This doesn't burn any bridges and might score you a few points for future endeavours and street cred in the muso community.

Another shout for the Status half-rounds. Still plenty of definition and age really well. Great tension too - nice and soft but not TI soft.