Dan Dare

The thing to remember is that there isn't a Harley Benton factory. The instruments are made for Thomann (HB Is its in-house brand) by one (or more, depending on which has production availability) of the mega factories in China and the Far East that build for many other companies. Think firms such as Cort and World Musical Instruments in Indonesia and Korea. Thomann has to book production slots to have each batch of instruments made. At this time of year especially, all the other instrument brands are competing to get their instruments built. If a major name, such as Squier or Epiphone, wants several thousand, their order will take precedence over those from people such as Thomann, who don't buy in such large quantities. Money talks.

"flat" is very much a notional concept. The fact that the dials are at midday/neutral means little. The sound depends on how the amp designer voiced the preamp. MB are anything but flat in my experience. I'm partial to the sound they make, but "flat" they ain't.

I can't work out how to post a link, but the ones I found were in the plastic knobs section. If you have a look on the CPC Farnell site, they do a range of separate knob caps. You may be able to find some that fit your existing ones.

Take Bill's advice. Better amps don't do that, because they have protection circuitry and a relay which mutes them at switch on until the voltage in the output transistors has stabilised. That circuitry also helps guard against shorts, so if your amp bangs at switch-on, it doesn't have any protection.

Google "amplifier knobs UK" and a world of treasures will be revealed. An outfit called Knob Zone (Oooer, missus, etc) has what look to be identical ones to those on that GK. CPC Farnell and RS Components have zillions of different types, too.

Spot on. I should imagine not enough cabs or wattage (OP mentions he was running the amp flat out) to shift sufficient air didn't help, either.

I agree with Dr J. Construction is the important thing. There's quite a bit of compliance in a P bass - bolted, reasonably flexible neck, light BBOT bridge (assuming you're using it and haven't added an after-market one), etc - which combine to make it sound a little indistinct. The lack of really clear low end, combined with the upper bass and low mid emphasis, is part of the character of the instrument and the thing many love about it. Imho, you need a different instrument for more extreme de-tuning.

Or a fencing mask.

Given that Steve has looked up the serial on the Fender site and it's told him the colour, I think it safe to say it's tidepool blue. Nice instrument, Steve. Hope your daughter enjoys it.

A couple of new gems on the 'Bay as we speak. I particularly like the J with the extra wonky tuners.

Sounds as if you did well. You can't lose with an amp and cab for £80. If the cab has a Black Widow speaker in it, that's even better. Schlepping that lot to gigs will save you spending money on going to the gym too.

It's quite an old model. Traditionally, Peaveys were always regarded as being tough and reliable, but heavy (they're very much old school amps). If it isn't making any nasty noises, it should serve. If you are inexperienced, take someone with some knowledge with you when you go to look at/try it. Don't buy online, untried or unseen. And don't over-pay. I've just done a quick Google and they were selling used in around 2012 for $150 or so. Ignore talk of "vintage", "rare", etc. They're just old. You may want to move your post to amps and cabs. It's in PA set up and use at the moment.

Re. the original post, could it be a disguised audition? As they approached you, might they want to get you to play with them and see how it works out without the pressure of a formal audition?

Going rate for used Mexican J basses (Players and Vinteras) seems to be £500-£600, so right on your budget. Not an inspired or original choice, but a known quantity and easily sold on when upgrade time comes.

Not really. If you're happy, stick with it.

As for foam pop shields not being "rock n' roll", most punters aren't going to notice in a pub or club. The obvious point is that you don't need a pop shield the size of a football. Thin foam ones are available, believe it or not. Not much use as pop shields, but they will protect the gnashers from impact. Incidentally, old geezers aren't rock n' roll, either (I speak as an OG), no matter how hard they try to pretend they are.

Good man. There's no need to formally "give up". Just view it as taking a break from playing.

So he "can't deal with the look of the wind shield" and refuses to learn proper mic' technique, then complains he hits his teeth on the grille? Sounds like a him problem. Why get dragged into an issue that's entirely of his making? He's just trying to make it someone else's problem. Don't play his game. If he says he " too long in the tooth", tell him the problem will eventually solve itself as he'll wear his gnashers down bashing them on the mic' 😃

Nah. Plastic pop shield. 58 is metal.

Surely you change the key to suit the singer. There are no medals for struggling to play something in the "original" or "correct" key (which may well have been changed between the writing and recording of the song to suit the singer, anyway). In my band, we do that. As she has a penchant for Eb, I carry a bass tuned a semitone down for some numbers. Everybody's voice is different.

Virtually every gig sees changes, but they are mainly minor running order alterations, together with additions/deletions according to how long we are being asked to play for. We have more numbers ready to go than we need (unless we have to play for 3 hours plus, excluding breaks). We carry charts of things we are working on, so we can throw a few of those in if the fancy takes us. We try to add a couple of new numbers a month to the list.

I use a padded lighting bag. Less than 20 quid and does the job.

If it's short scale, would a guitar case do the job? Obviously you couldn't use a shaped one, but as long as it is of sufficient length, it should work. Measure it and see what's available.