Dan Dare

[quote name='Monkey Steve' timestamp='1493823359' post='3290991'] In response to the OP, the legal position is a little complicated. Assuming it's now treated as unsolicited or abandoned goods, the bass still belongs to the seller. You do not have to go out of your way to return it, and you should not incur any costs, but the fact that they haven't arranged for its collection does not mean that it now becomes yours. This only happens after a period of six years and your options for that period are pretty limited. However, you are not expected to be a storage facility for six years so you can sell it, but really only if you no longer want to store it for them. You must write to them telling them what you are going to do and giving a reasonable period for them to arrange collection (minimum of 14 days) if they don't want it to be sold. Having done this you now have a sum of money that belongs to the original seller - it does not become yours for the balance of the six years and if they ask you for the money then you have to hand it over. And before you think of a clever ploy to flog it to a mate for a penny, the seller might reasonably take you to court if you sell it for well below it's market value....that said, a nice, honest listing on a well known auction site highlighting the bass' deficiencies might generate a sale at a reasonable price to somebody you have tipped off. Assuming you don't sell it, you can't do anything to change the condition of the bass - you can't fix it and play it as the seller can ask you for it back in its original condition at any point for the next six years. The stories you hear about telling companies that you're going to leave the mis-delivered items out on the street if the seller/courier doesn't collect it don't hold much legal weight. Puts you in a difficult position. But only really a risk if the seller is going to ask for it back in the next six years. The best outcome is if they tell you that they don't want it, but getting that out of them now seems to be a problem. Good luck [/quote] That's interesting and useful to know. What would be the position were one to (having notified the person first and given them time to arrange collection, of course) dispose of the item, i.e. throw it away?

Just looked at the site. Sounds a pretentious twerp. Give yer hard earned to someone who deserves it.

You really have to try cabs before committing yourself. Don't buy on our say so.

I had the old 2x15 Bassman cab many moons ago, which sounded fab. I'd be surprised if you need more than 4x10 unless you're playing very big stages. You really need to try some options. Our views of limited value if they don't suit your needs.

For the money a decent quality powered cab' would cost you, you're probably better off with a separate class D head and cab. Won't weigh much, if anything, more, you can use it as just a power amp (use the FX in) and cab if need be, but it will do the full standalone job should you need it. I picked up a mint, hardly used Bugera 1001 head for a coupla hundred, which I use as a power amp to drive additional cabs and which doubles as a spare head if mine goes down.

[quote name='stu_g' timestamp='1493550410' post='3289024'] I get the impression sometimes they dont even have the parcel they just stealthily leave a card without knocking. [/quote] Yes indeed. I once opened the door to the postie as he was about to leave a card. "That's OK", said I. "I'll take the parcel". He explained I'd have to go to the local depot for it. So you're right.

Another thought. Try the FX send from the 800 into the FX return of the 500.

If the output from the 800 is at line level, which I should imagine likely if it is to drive a powered cab', you should be OK. If you connect it and start with the master volume of the 500 at zero (the input gain shouldn't have any effect if you're using the FX return) and slowly raise it to test it, you shouldn't do any damage. In my experience, GK are helpful if you send them an email query.

If you want to splash out on a preamp/DI, have a look at the Basswitch in addition to Sansamp and others. Expensive but good.

Having re-read the OP, a standard DI box will not substitute for a speaker. It doesn't contain a dummy load, so if you're using a valve amp, you must connect one of those or a speaker to avoid destroying the output transformer. Some solid state amps are OK without a load (although they can get a bit hot - probably best to use one).

To answer the OP's question, yes, I have 2 of those Palmer DI boxes and they are much better than their price suggests. Made in Deutschland, not China like most budget priced models. They do a more deluxe model, too, with a better transformer, which is excellent and which I also have a couple of.

[quote name='blue' timestamp='1492910888' post='3284086'] You should be happy with and be proud of the brand you play. Why be a pretender? My first bass back in 1965 was ordered from a Sears Catalog, cost $40.00 and 2 weeks shipping time. When it arrived I was on top of the world and I kept the Silver Tone logo on it. Blue [/quote] Some Silvertones are quite collectable these days. Keep anything for long enough and it will become cool.

[quote name='Stylon Pilson' timestamp='1493040440' post='3285084'] No, I misread, and I hit her instead. Now my band are calling me a cycle path, which seems like a somewhat abstract insult, but whatevs. S.P. [/quote]

+1 for Peavey. An old 15" Black Widow equipped cab will surprise you and they're plenty cheap.

It's important to be aware that the band is not the only or main attraction for a lot of people. Pubs, clubs and the like are not concert halls. People may wish to chat, have a drink, watch a bit of TV, etc, etc as well as listen to the music. When I see a band in a club or pub, I don't listen attentively to every number. I may enjoy the evening overall and appreciate the band, but I'm not there solely to see them. Nothing wrong with that. We don't have the right to demand total attention from an audience.

[quote name='mikel' timestamp='1493023593' post='3284835'] There is a lot to be said for recording this way, its the recording of a performance, a moment in time, I know it can also be done with multi track, one track for each instrument, but still all playing at the same time. That is my preferred way of recording, but I suppose the temptation then is to go through each track and modify even the slightest imperfections. Ergo its no longer the performance. I could never get my head around recording each instrument at a different time, it just goes against my ingrained perception of music being an organic performance and musicians playing off each other. I have done this once or twice in studios and its not my idea of a good time. [/quote] I agree with this. Whilst I'm not enough of a luddite to think it fine to leave obvious faults on a recording and am happy to correct/overdub them, the spirit of the performance is what is most important. When it gets to the stage where you replace/re-record every part, that's a sign that the original performance was not good enough to start with.

I think the trick is to give people enough of what they know/like and sneak in some newer/original stuff under their guard. That way, everyone is happy.

I think "honesty" a fair comment. Also appreciate that such a recording environment does not work for everything.

A lot of so-called "charities" (shades of Smashy & Nicey) are nothing of the sort.

[quote name='FinnDave' timestamp='1492805124' post='3283434'] I must be getting old, I don't recognise a single song in that list! [/quote] me neither

[quote name='leschirons' timestamp='1492795151' post='3283329'] I would have thought that as you're discussing issues that are "threatening to tear the band apart" a nice meal in a restaurant is not an ideal situation anyway. If it all gets heated and goes 🍐 shaped just before the main course arrives, that's going to feel like a very long and uncomfortable evening. [/quote] Agree with this. A "nice meal" not an ideal setting in which to talk business, especially if there are contentious issues to sort out. Partners a definite no-no, in my experience. Perhaps the guitar player invited her deliberately to forestall any awkward issues being raised?

I doubt it would be worth it. There are other timbers which work in that application. Gibson, for example, is using things like Grenadillo, which seems to do the job perfectly well.