tauzero

I like a hybrid approach so I use a Behringer BCF2000 linked by MIDI to the XR18 and a tablet on my mic stand. I find control of faders a lot easier when they're physical.

I don't need one. HTH.

My headless 5-string Sei Flamboyant has two J pickups in somewhere round J positions. My headless 5-string fretless Sei Original has two soapbars in somewhere round J positions. I wouldn't count either of them as a Jazz, in fact I'd be extremely offended if anyone did.

And plays a double bass drum kit?

FTFY.

I was in one band where the guitarist decided on the songs to be done by the simple expedient of never learning anything that he didn't want to do, and just telling everyone what we were going to do next. He was also an idle shit who never helped carrying anyone else's gear in or out. However, more positively, one band did a few of the hoary old ones, plus some that rather fewer covers bands did but that audiences would be familiar with (Back on the Chain Gang, Brass in Pocket, Because the Night), and, yes, Go your own way and Don't Stop by Fleetwood Mac. The system with that band was that we had a spreadsheet where we listed suggestions and there was a column for each member to vote in, ranging from "definitely yes", through "OK", "not keen", and finally "over my dead body". That seemed to work quite well. The last band before the current one had songs mainly selected by the singer/guitarist that fitted vaguely in a genre - generally 80s, with a bit of early UB40, punk, and David Bowie thrown in, that he could play guitar to (he isn't a great guitarist, as he is the first to admit, but he's a good singist). He'd come to a rehearsal with several suggestions for songs and we'd agree on some of them and take others into consideration. I did put down two vetoes - one preemptive one on "Red Red F*cking Whine" and one after a little consideration on "Dreadlock Holiday". The current band is tending slightly towards the overexposed section of pub covers, with suggestions from everyone and some of those being adopted without fear or favour, though we try to do the better-known ones. "Mr Brightside" got discarded because the singer/guitarist couldn't manage the vocals and guitar, and the second guitarist who does some singing couldn't sing it (and I couldn't either). We'll decide on something to give a try and see if it warrants bringing into the set, and then whether it should be kept in ("Get Lucky" managed one outing and has been permanently dropped, "Don't you forget about me" has had one outing and we decided we needed to do some work on it). One of the two slower numbers has been temporarily withdrawn ("Weather with you"), the other ("Tennessee Whiskey") is the first set closer.

Good luck finding a case for that. And make sure to get some padding on your leg if you're going to play it sitting down.

If you haven't noticed the zillions of times that P basses have been mentioned by fanbois on BC, you haven't been reading it properly.

Fifths rather than fourths, surely? Are you aiming at the same tuning as a cello or an octave down? For the same tuning, you'd start with a D string (0.060" or so) as the C string, G string (0.040") as itself, then what would normally be a C string on a 6 string bass (0.030") as the D string and something like a 0.020" as the A string. If you have a look at https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf you'll see what would be needed to get similar tensions across the four strings.

I use 40-125 on all the 5-strings and 40-100 on the 4-strings. All sounds fine.

Something else to be aware of is that if the B6 is like the B3, it needs a true isolated power supply.

Sadly, a Tecamp Puma 900 is 10.6" wide so it would overhang by 0.00003788 furlongs.

Ah, you mean a gig. Or is that just me?

If I ever go for a W&T, it'll have to be a headless one.

I still have to get them into and out of the car, so I stick to 8" Altos.

My lot let me do the XLR cables as I'm the only one I trust to do them right. However, they are not averse to a bit of manual labour - speakers on and off stands, stands out of and into bags, speaker covers off and on, and then carrying the stuff too.

It was in some primitive form of measurement 6'x4' (should have paid in groats) and as we play pubs, it's just about right. The somewhat strange appearance in the photo is because we set it up in front of the telly that was showing football and it's not blackout-strength material. It does demonstrate that it is sufficiently large to cover a big telly though. The stand is made of black solvent weld overflow pipe (21.5mm) - all the couplings are glued to one of the pipes they're attached to and the top and bottom crosspieces are in two pieces. I also put diagonal braces on the feet so it didn't lean backwards or forwards, and the legs below the crosspieces can have 25cm extension pieces put in where we have the headroom (like here). It's a bit low when we don't have the headroom (or when I mislaid one of the extensions):

The B3 is pretty old tech. The successor was the B3n (improved sound and usability) and the current flagship model is the B6. They're good for the money (especially the MS pedals like the MS-70CDR) but multieffects are basically a collision between you get what you pay for and the law of diminishing returns, so splash out a bit extra on something from Line 6 like a HX Effects or Stomp and it's a step up.

My '87 has the thin neck. At some point (I think it was late rather than early '90s) they got fat, and certainly my 2000 NT was a fat neck until I had it reprofiled to the same as my '87. Then they slimmed down again but I'm not sure if they went as slim as the early ones, haven't played a recent one. If you're after a 5 rather than a 4, you'll find that the neck in the slim neck era is a little chunkier than you'd expect if you were extrapolating from the 4-string. However, the profile in the fat neck era wasn't consistent either, some felt more comfortable than others. Some info at https://forum.warwickforum.com/threads/neck-profiles.15019/ and I'm sure there's other similar threads on there.

Which is also a reminder that you need a pot with PCB mounting terminals in the same orientation: and not one with solder terminals or right-angle terminals

But without the same stage presence and bodybuilding potential 😁

I can fully relate to the glasses issue. For our leads, the singer/guitarist has his own which is red, I use a purple one for me, and the other guitarist uses one that I supply to him which is black. In your case, could you use coloured insulting tape round the lead ends and on the mixer?

You mean one with two fretted strings and two fretless strings?

Ah, pick'n'nicks.

I can't see why wireless would be any worse for XLR than for guitars or bass. Wireless XLR means you can plug a dongle into a mic and another into the receiver and eliminate the wire, and the reason for it being XLR is that that's what mics use. Lekato do the MW-1 https://lekatodeal.com/en-uk/products/wireless-5-8ghz-microphone-system-plug-on-xlr-transmitter-receiver?_pos=1&_sid=08dc515d5&_ss=r - available for about £70 from AliExpress.