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I'd suggest it due to them being in series, I am planning on changing to parallel when I have the time and patience. And on that - my other one came this morning. Same tweaks made as the blue, but it was very much playable out the box.

I never got my name in lights but more than happy with chalk! We had our headline at The Vic in Swindon. We’d been weeks in rehearsal and our soundcheck had us struck by the curse of backing tracks. For some reason we had a virtually non-existent kick drum and barely audible count ins, coupled with ear bleedingly loud keyboard washes! Rather than try and dissect the problem, we hastily rewrote the set to come up with a stripped back set. The Rickenbacker sounded immense through my Blackstar U700 head and 4x10. That head continues to excel in all situations. The crowd walked a line between modest but respectable (original goth music in Swindon on a school night perhaps isn’t the easiest of sells). Despite the initial woes of soundcheck, a fantastic night. I was even complimented on my singing voice - something I have been working hard on for the last couple of years 🎉

The price: €7,250 + €50 Shipping seems too big.

This is a very good summary of the stacking options available. Classic theory tells us that you should keep drivers as close together as possible, especially when they are reproducing the same frequencies. However, I suspect that a lot of players might be more concerned about having the grille badge sideways or upside-down when using one of these configurations. Although normal vertical stacking isn't ideal because of comb filtering, it doesn't seem to be a problem in practice as long as the cabs are tonally similar.

Go Your Own Way - Fleetwood Mac

Definitely good advice. I usually went line array as it was a wider surface to put the rack on, but it didn't really matter. One upside down looked silly. Horns weren't worth rotating as I nearly always used them singly and dispersion and detail didn't matter as it was only ever just for me. For me this kind of stuff is like the 'never have two subs on opposite side of the stage' thing. I get why, but there are other considerations than just acoustics.

And what nationality of person fed that wood into the CNC machine. And whether it was leo fenders birthday or the employee passed by that cemetery on their way to work, which makes that wood better than normal wood; it becomes magical

My overall preference is for the plastic ones because they offer more protection for the corners and allow for easy stacking (in both portrait and landscape formats). There are some horrible plastic ones which look cheap, but I think the small, chevron types can look very smart. To answer your question, @Ed_S, I certainly wouldn't avoid metal corners and rubber feet, and I can understand your preference.

I recently joined a newly-formed band (female vocals; 2 guitars; bass & drums), planning to play pubs and social clubs etc First gig is mid-June. We want to go through the desk so we can IEM. The guitarist just bought a pair of Yamaha DXR15s. If the speakers go on poles, will I (and drummer) need a sub on the floor? If so, would I get away with a 15” powered sub, or does it need to be 18” because the tops are 15”? (Else would it be an option to have one DXR speaker on a pole and the other on the floor, or is that just silly?!) Thanks

I love how understated and elegant that looks! And I'm an absolute sucker for olive wood. I always drool at those cutting boards they sell at Xenos and Dille & Kamille here (Dutch people will understand ). Beautiful bass! I'm a bit put off by the lack of a fingerboard radius and the filter pre - but I guess mostly due to never having tried either of those! I'd love to have a go on one some day.

This town ain’t big enough for t’both of us. Sparks

If you are combining two tweetered cabs then it is better to stack them vertically with the tweeters as close together as possible, so as you say horn>woofer>horn>woofer is not good. There are two approaches, simply invert the top speaker so the horn is now on the bottom and in some cabs very close to the horn on the bottom cab, this approximates to a D'Appolito configuration giving a fairly coherent wavefront but you'll get some phase issues in the vertical plane due to the spacing between the horns. You've now moved the two mid bass drivers further apart so you'll lower the point where the mids become directional and start beaming so this works best in speakers where the crossover is lower like the LFSys. Radiation in the horizontal plane should be good and a lot beter than a side by side arrangement. The second method is to stack the speakers but on their sides with woofer above woofer and horn above horn in a classic line array. The problem with this is that the horns are on their side and typically they are designed to radiate a wide horizontal beam which will now be narrow and high. The audence may hear less detail in the bass guitar if they are off axis but the player will benefit from the extra height which will be giving more upper mids to their ears. If you were doing this regularly then you could rotate the horns. LFSys have the horns rotated already though to direct the mids to the bassists ears whilst in the conventional position. Sometimes I bore myself

Spoilin' For A Fight - AC/DC

Similar to others on here, including the OP, the truss rod setting was excellent with just a small amount of relief from the factory. The bridge saddles needed about three [plus] turns each to get a nice low action. There are no real dead spots on the neck, or buzzes that I can find. In single coil mode with the three-position switch in the middle, you have a nice bright 70's Jazz bass sound with a fair scoop. The neck pickup solo'd in single coil mode is very P-alike - you can take about 40% of the tone off before it gets muddy. The bridge pickup with 50% tone produces a fair to middling Jaco sound. The humbucker setting can be overpowering. Not in terms of physical output, but due to how the pickups are wound. The front pickup in humbucker mode solo'd gives you something like an EB-0 with lots of gain style gritty tone. Run the instrument as a single coil at the neck and a humbucker at the bridge and it does a very reasonable HS impression. Build quality is great. No blemishes or chips in the finish, fretwork is good overall and the neck profile (fingers to thumb) is again very Jazz-like. Hugely playable and comfortable. Okay, so what's not to like for £150? Thanks Andertons

Ack, I was just looking at the pretty pictures, not the specifics! You couldn't do any worse than signing onto the Hamer Fan Club group if you haven't already! https://www.hamerfanclub.com/forums/

Can't get behind that at all. It looks like quite a thick refin. The whole thing looks like a MIM Classic '50s Precision bass. Why dress a 1963 body up like a 1957 bass? Apart from the skid marks in the neck pocket everything that ties this instrument to 1963 is gone.