Dan Dare

If, by your own admission, you are crap, the sound guy may be keeping you low in the mix, so as not to have it sound too bad out front. He will likely not want to tell you this for fear of hurting your feelings. I've been in a similar position when mixing. It's a difficult situation. Yes, the idea of a jam is that everyone (within reason) gets a chance to pitch in, but you still want to keep things sounding as decent as possible.

HB are great value, but it's hard to beat a used Squier for a budget PJ. If you decide to sell it, it will likely be easier to shift than a HB.

It's not that. It's due to the fact that we live in such litigious times. Companies are printing warnings on everything in an attempt to cover themselves in case someone turns up with a rent-a-lawyer complaining that a product caused cancer, made them grow an extra head, etc, etc. Can't really blame them.

Just checked his eBay offerings. It seems "perfect balance" is his latest schtick. Plenty of gems on offer at the moment. Just search the 'Bay for "perfect balance bass"

I'd be happier if he actually was a luthier. I think it's likely he trained as a butcher.

Definitely not suitable. You need a double bass bow. They are shorter and have a much thicker/stronger stick, to resist bending and the frog is much deeper, so the hair is held further away from the stick. You need this because you have to exert much greater pressure on double bass strings than you do on a violin, viola or cello to set the strings vibrating. A violin, viola or cello bow will simply collapse against the strings. You will probably break the bow. Even if you don't, it will be useless.

Always assuming they even know they've made mistakes in the first place.

Oh really? That's why nobody ever does the same stupid things over and over again, then...

I agree with JPJ. If you have the money, Phil Jones stuff sounds nice, looks good and is compact and unobtrusive. You can add a power amp and cab and use the excellent onboard preamp if you do decide to gig.

Sorry, but this is tripe. Practicing/rehearsing something so you know it instinctively is what makes you get it right.

Good stuff and best of luck. If it's a Theremin, don't forget to advertise it as "never touched".

A decent tech/repairer should be able to do that. A proper job will involve filling with hardwood dowels and re-drilling. It shouldn't weaken anything if done right. I'd ask your tech's advice.

Jack's Instrument Services (Manchester, 07706828122, jacksinstrumentservices.com) have made me a couple that I'm happy with. They do them in a very wide range of materials/colours, including several styles of tort.

Manufacturers claiming that something is FRFR is one thing. Reality is another. A £250 cab is not going to be truly FRFR (at least, not at any volume or distance). The laws of physics, Jim, and all that. I agree with Phil. Not worth spending money on it and losing re-sale value. Best to sell it and put the funds towards something better.

I wouldn't bother with 3 driver cabs. They are rare, difficult to do well and consequently likely to be expensive if they are any good - something like the Fearless F112, for example. Good quality modern drivers reach well up/down into the midrange.

Sounds as if you may be selling "an old thing that I never used and was going to scrap" that you may not realise the value of. If it's a 1952 P bass, I'll give you 50 quid cash...

Most of it is from pretty much anywhere apart from the UK, apart from the power amps I use for the PA monitors, I'm afraid. USA, Mexico, Germany, PRC, Indonesia.

Class rhythm section or what?

High mass bridges can "dry" the sound a little in my experience. The difference, despite claims that they offer a miraculous improvement on a BBOT, is very small. You may or may not like it. If you don't want to spend a lot, try a Gotoh 201. Nicely made and good value. There is also a Gotoh version of the BBOT, the 203, which is made from brass and very nice. It certainly looks better than the standard offering. However, adding new p/us and bridge to a Squier will cost a bit and you're unlikely to recoup what you spend if you come to sell it. Might it be better to put the money towards a better instrument?

I'm a little surprised at that recommendation. If you want an Aguilar, the AG700 is the clean one. The THs are excellent amps, but they are voiced to sound thick/old school.

No such thing as "music that doesn't date". Everything is of its time. However, that and whether or not it continues to be liked are separate issues. I like Bach, but I certainly can't and wouldn't claim his music hasn't "dated".

Hilarious. Major selling point for some (me included). Don't really think the maker would have been unaware.

Sorry to be sensible, but when you say "darker", do you mean fatter, with more lows? If so, it could be that you have improved the lead, which you say was a cheapie, by making a decent contact between it and the new plug (which, being a Neutrik, probably makes a better connection than the old one). The highs could be the same as they were, but you perceive it as darker/fuller because you are now hearing the low end properly as well.

If you get another 210, you can pair it with the one you have to make a 410. It will be cheaper than buying a 410 and you have the option of using one or both depending on the size of the job.