Dan Dare

NOW GONE. THANKS TO THOSE WHO GOT IN TOUCH A couple of sets of D'Addario XL rounds, taken off new instruments (I use flats), plus an unused set of Elite rounds. All long - 34" - scale. Free to good home if you cover postage. PM me.

It is balanced, albeit with a distinct mid forward quality (which you can adjust, although not completely lose, with eq on the amp of course). Series mode is quite a bit louder than the other options I can't quite make out the amp in the demo'. I use an AG700, which works fine with it. I thought I'd try the Kiloton for that reason. Sometimes that fat, sweet bass tone doesn't quite cut through in a noisy live situation and can get a bit lost (I have a vintage J bass, a Mexican PJ and a Bitsa P - made with nice components). If the G&L doesn't work out, it wasn't expensive, so it's not the end of the world. I'm surprised G&L are not more widely used. For the money, they're very well put together.

Here's a pic' for you

Bought one of these yesterday - Kiloton™ | G&L Musical Instruments (glguitars.com). Bit of an impulse purchase. Having become a Joe Dart fan during lockdown, I fancied a simple, passive bass with a single humbucker. I didn't want to spend a lot of money and already have a P. Surprisingly tonally versatile and very nicely put together for a budget instrument. Took it to bits when I got it home as I do when I buy a new toy. Good quality fittings and decent pots - not the usual flimsy tiny things you find on Far Eastern budget instruments. It's always pleasing that manufacturers don't skimp on the stuff you can't see. A little heavy, but nothing a wide strap won't take care of. Very solid sound with plenty of midrange bark and high output. Must give a mention to Guitar Guitar in Epsom. I bought the bass (which they had at a considerably lower price than elsewhere) and a gig bag and they threw in a set or Ernie Ball Group III flats. Very helpful shop and absolutely no pressure to buy. Just set me up in a demo room and left me to get on with it. Very pleasant experience.

That's what I thought. Presumably, buyers will still use PayPal as previously. I think Wolverinebass hits the nail on the head above. eBay wants to use money paid for a few days (much as banks do when they take time to "clear" payments, which, in the era of instant electronic movement of money, is a nonsense) before paying it to the seller. Exactly. If money is taken from your bank account, good luck in recovering it. You will be told that you gave consent to eBay to access your account and that consequential losses are your problem. I spoke with eBay and asked what would happen if they were hacked and money was taken from my bank account and did not receive a satisfactory reply. Very dodgy. I shan't be playing. Very dodgy

Perhaps she's going deaf.

It does, but not if you want it at higher volume. I'm on the fence as far as "bass tone" is concerned. I've found over the years that what sounds good next to the rig doesn't always work in the room (in situations where one is not going through the PA, obviously). I try to dial in a sound that is a little too mid-prominent and lacking in low end extension these days. It isn't especially pleasing when stood close to the rig, but it works and projects better into the room.

What makes a bass good for chords? The player.

Same as. One of the drivers packed up, so I replaced both with Peavey Black Widows. Sounded pretty nice after that. Replaced the head with the inevitable Trace Ellioitt a few years later.

A fundament? A rudiment? A blunder?

No such thing as "sacrilege". It's your instrument and you are free to do as you wish with it. If you are certain you won't want to try to realise the collectible value (which is dependent on fad/fashion and can often change) for it at a later date and it will make it perfect for you, that sounds the way to go. We're not talking about a Strad here, after all. Bear in mind that we tend to find that our "perfect" changes over time.

An oil finish is nice, but bear in mind you won't be able to refinish at a later date with any form of varnish/lacquer as the oil will sink into the wood and react with anything you subsequently attempt to apply. So be sure you really want to do it before proceeding.

I like his small driver cabs. I have two C4s and three 4Bs that I use in varying combinations according to how loud I need to be. Very clean sound and project well, although you do need to use them in number if you want to make a bit of noise. They are also quite inefficient and take a bit of driving. The 4B is fuller and a little softer in tone than the C4. As stand-alone cabs, I prefer them. However, I find two C4s with a tweeterless Berg 1x12 to fatten the bottom end makes a potent compact rig.

A word of caution re. soldering preamps and similar micro-circuitry. Don't use a high wattage soldering iron and keep contact between iron and what you are soldering to a minimum. It's very easy to cook miniature electronics. Quite a useful guide here - Soldering Irons - A Complete Guide | RS Components (rs-online.com). I use a 15 or 25w iron with a fine bit for jobs like that. I note you want longer wires on the preamp. It may not look as neat as replacing them, but would it be safer to add wire to lengthen them (you can insulate the joins with shrink sleeving)? They will be out of sight once the pre' is installed in the bass, after all.

I don't think it's possible to "fill the gaps". I agree with those above who say don't change or do so minimally. If you're not happy to do that, maybe suggest to the others that the band recruits an additional musician. Fwiw, there are very few guitar bass and drums line-ups that really work live for me, but that's just my 'umble opinion.

There's a Workingman's on eBay at the moment.

I'd look for a nice pre and add a PA power amp. That's what I used before I went lightweight to ease the strain on my aging back.

The only way to find out is to try it with another. If it distorts when you are pushing it, it may be that you are overpowering the cab. That will do it no favours, so don't keep doing it. If you are using a 1x10 in a band setting with a drummer, it's pretty likely it cannot cope. It may be rated to take 300w, but manufacturers can be a little optimistic with figures. Are you able to try the head with a different cab to see if it still happens?

This is in danger of turning into handbags at dawn. Fwiw, I think focussing on cabs is incorrect here. The OP is likely (imho, of course) to find the limiting factor is the head Nothing wrong with a TE Elf - it's a micro amp, designed for practice/smaller jobs and it will handle that fine. However, it's power is limited - quoted max is 200w into 4 ohms. Given that he says his existing 1x10 cab will handle 300w, his Elf will likely run out of steam if he adds another. In his shoes and assuming I liked the sound the existing cab makes, I'd get another cab and a more powerful head. Should be doable for £600 odd (Elf is £200ish new, so assume roughly £100 from selling it) if he buys a used head. I tend to stick with new cabs as you don't know whether used ones have been abused, but that's just me.

Yes. Really. Those three were all respected primarily for their song writing. Had they attempted to get gigs purely as singers of others' material, I doubt we would ever have heard of them

I find great players and artists a spur, not a discouragement. There's always someone better than us. There's always someone worse, too. I'm grateful for whatever ability I have and try to make the best of it and enjoy it.

Some excellent advice above. Nothing wrong with your Tanglewood. They are decent budget instruments. Your issue is one of technique. You will experience the same problem whatever instrument you play. Why not spend some of that £600 on a few lessons? It will get you on the right track (and save you money).

Phil Jones or Beyer DT770s should do it.