Chienmortbb

My point was that the actual wiring has little effect as a sound upgrade. The workmanship on @KiOgon's looms is superb and in many cases a worthwhile upgrade, but there would be little difference in the sound to a bass without a loom but with an identical circuit. In fact, you need to be careful when laying out a loom that the innate tidiness does not cause unintended problems. @KiOgon is experienced enough to know this and if you want an easy, trouble free installation, one of his looms is a no-brainer. The other advanatge of @KiOgans looms is that it looks nice inside your bass, but only you can decide how much that is worth to you.

I only use my J pickup once in a blue moon to check it is still working (it is). I often wonder how much the loading of the J pickups affects the sound of the P even when the volume is at zero? I must do some circuit analysis, or I could noodle on my bass....

Much as I admire @KiOgon s work, I don't think he would argue that his looms are a tone upgrade. In saying that, if upgrading the pups you might want to upgrade the other electronic items as well and in that case, @KiOgon should be your port of call if soldering is not your thing.

No, the voltage between phases over here is over 400V.

All human life really is here! It ain't wrong if it sounds right.

I can quote for that (with apologies to Hall and Oates).

There is a lot of good advice here but also some conflicting thoughts. Are all the band onboard Are you worried about size or weight of the equipment, Do you need multiple monitor feeds? How many input channels do/might you need? The other thing to be considered is that more gear means more set up time, especially if you initially keep the backline. For a pub band, if you want in So my two pennyworth, go for as big a mixer as you can. I have just sold a Soundcraft Ui16 that would do most things, mixer wise. That went for just over £300 and would do everything you need and more but Behringer RCF and others can be picked up for £300 or less. Secondhand. If you decide to put the drums through as well as all the instruments, go for one with at least 12 mic/line inputs on XLRs. An analogue desk may well suit you better but would be bigger and heavier for the same no of inputs/output due to physical channel strips. Now that would only leave £450 for speakers. There are some bargains out there but again look for a good brand second hand. You may have to wait a while for good ones that are within your budget but you can make offers on some. Having researched active speakers, there are some to avoid. Many of the Behringer ones have poor reliability, as do some of the Mackie Thump series. Only look at the higher end Altos. The main thing though is to listen to them first. Don’t rule out passive speakers. I recently auditioned a few active ones but they were not as good as my 25+ year old Ramsa tops. Choose some uncompressed audio tracks that you know well but not recent over compressed stuff. It is best to use CD from some years ago as modern is compressed to hell. Vocals are important, especially around the crossover point. The last time I checked, Spotify uses lossy compression but but Apple Music uses a lossless compression method.

Suck the mids out, and you suck the life out of the mix. Seriously though, modern 12s can be equal or better than the old 15s as the real issue is how much air they can shift. I got good feedback about my sound last week from some "old timers" about my sound from a 10 with a compression driver/horn. Don't judge a cab by its driver diameter.

As my local stores could not supply, I could not try before I bought. PMT have lots of stores but none less than 2.5 hours drive and over 200 mile round trip. I have only returned one thing to Andertons, in about 8-10 purchases, so the cost per purchase is minimal. It is a bit like credit card fees, a cost of doing business.

To be honest, I did replace the machine heads on the Sir Marcus Miller M2 with some Hipshots bought on here. The original ones stayed in tune, but had awful backlash. That put the overall price at £330 approx. I would like to replace the knobs at some point too as they are not nice but are functional.

You can only comment on your own experiences. I often use Thomann, Andertons and have used G4M and PMT. Thomann used to have a price advantage, but it is now often pennies and DHL, are to be avoided where possible. The worst tracking of any company, IMHO. Andertons, despite me not liking the bloke that does their bass videos, I have found them to be excellent especially when I changed my mind on a purchase after it was delivered, They arranged pickup FOC. PMT were good to buy from, BUT when I was unsure about a very recent purchase, I checked their Ts and Cs. It is down to the customer to pay for and arrange the return. G4M did not have the things I wanted recently, so I have not used them for some time.

My first bass, about 25 years or more ago, was a candy apple red Squier P Bass. I did not realise then how good it was. Cost £100 second hand. Then I got a Westone Thunder 1A, yes it was heavy but it was a wondrous bass. At that time it was definitely 1 in 1 out. That was also second hand and cost about £100. A few basses later and my first “real” bass, a Fender Aerodyne, the one in my avatar. Personal import from Japan, cost about £500 all in. At the time they were £995 over here. It is fabulous BUT.. I have continued to buy and sell basses but I now have a Marcus Miller M2 £270 ish and I alternate between the Fender and the Sire Marcus Miller. I also have a second hand Peavey P Bass (£50) and have gigged that several times.

I put DiMarzio pickups into my Fender Aerodyne (P/J) and contacted their Tech Support for advice on wiring. It was a different to the usual Fender arrangement and meant that I now have a tone control that goes from bright to thud and all things in between. MOst tone controls on passive basses have a limited range. I use roundwounds, Class D heads and a full range (LFSys) cabinet.

Have you met my friend Noddy?

I once went to the Dr it’s a sore ear. She asked if I used cotton buds, “no” I said “Put nothing in your ear smaller than your elbow.” The Dr asked who gave me that advice? “You” I said, “ about 15 years ago!”

It proves what I was told was true that BLX came from “the dogs rowlocks”.

The first thing you need to check is the number of Aux or Bus outputs available on the Dynacord. Looking at the manual for the 600-3, it looks like you have just MON and AUX. So you cannot have more than two monitor mixes. The Dynacord looks to be a great Powered mixer but it is limited in this respect. If it is just you going IEM, then try a wired system initially fed from the Aux output. I use KZ ZS10 earpieces, plus the Behringer P2. Total cost about £90. Be warned that the KZ ZS10 have a scooped response and without a separate EQ on the AUX output, will be bass heavy and have a suck out in the mid region. However they do outperform( in my opinion) many dedicated IEM earphones fro the usual subjects. @EBS_freak and @Phil Starrhave much more experience than me however and will hopefully put me right, where needed.

I think we do need a little more info before we start posting recommendations.

Sorry!

It is not the only parameter, but it is important. I will agree that it is not the most important part of the spec.

I agree that the early ones were poor, but I have played one recently that was OK.

I Lied. I remember seeing one of these on a music shop wall and tried it. I have never played a bass with a worse setup. I was really disappointed. (this is not a joke)

NO they are wrong, it was designs after the P that are wrong🤣

To be honest I feel the opposite, The 'Ray looks all wrong and the elongated top horn on the Sire will place the bass in a more playable position, and help with the balance. In my opinion the Stingray pickup is in an unusable position. However, if you consider the bass a percussion instrument, you may well disagree. I am going as I might have outstayed my welcome here..