Dan Dare

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.

You might try recording rehearsals on the basis that it's good for everyone to listen back to the recordings to see what issues need to be addressed (which is good practice regardless). See if the singist picks up on her faults and works on them after listening to the recordings (if she and the guitard are an item, maybe he will if she doesn't). Does the band have decent vocal monitors? Perhaps she struggles to hear herself. If there's work in the offing and you can stand it for now, stick with them whilst looking for something else. If it's making you unhappy and there's no sign of improvement, you have no alternative to leaving, really.

Yep. With a few exceptions, they play instruments that are just like everyone else's, too. I've never understood the nonsense that means a mass produced, factory-built instrument that has passed through the hands of someone famous suddenly acquires mythic status and a grossly inflated price tag. No doubt someone will be along shortly to rave about JP's Bass of Doom. Here's the thing. He would have achieved what he did regardless of the instrument he used. It came from him, not the tools he used.

Exactly. I'd use (and have used) my regular gear for personal monitoring in large venues and the foldback/IEMs can take care of it for everyone else.

Just don't use the same glue that BF do

Sounds like a dodgy solder joint. When you switch off and on or bang on the top, the vibration remakes the connection temporarily. Only sure way to fix it is for a repair person to check every joint. Fiddly, time-consuming and likely expensive as a result.

This. If you ever need to replace a pot, you're stymied if you can't get your knob off (oooer).

A C8 is less efficient than a CAB47, so the perceived volume from each will not be the same. Also, I'm pretty sure the C8 is 4 ohms. It's effectively two C4s, which are 8 ohms each, in one box.

To each his own. I'd do the job myself rather than wait for a couple of weeks for s replacement. I'm confident I can drill a hole without causing wholesale destruction.

I don't know nuffink about art but I know wot I like 😁

You're a better man than me. I wouldn't necessarily expect a singer to carry the gear (I actually prefer to schlep/set up my PA myself as some others are none too careful with things. It's light, so no biggie). However, if they demanded a mic', they would be told that we provide our own instruments and they can provide their own mic'.

A band is no different from any other cooperative enterprise - workplace, sports team, etc, etc. It is likely to include an equivalent mix of personality types, from good eggs to awkward tw@ts and all shades in between. To quote Sartre, "Hell is other people".

Those MB 2x10s are surprising. A pal has the combo version and it sounds fat and punchy and fills a room very effectively.

Specialist shops are good because they will usually get a better price than you would get by selling privately, which helps offset the commission you pay. Plus, they deal with all the tyre kickers for you.

My subscription copy arrives in a plain brown envelope.

So some on here actually have wives/partners, then?

I doubt whether any here can give an opinion without seeing the instrument. I would take it to a repairer asap. The issue could worsen if the join continues to separate, so I wouldn't delay (and it would probably be best to slacken the strings).

You mentioned that you liked your BF 2x10. Why not try a Super Compact? There's a comparison video on the BF website between all their bass cabs. I actually liked the SC best for tone.

To complete the title of the thread: ... are not big and not clever.

1. Given that nobody will see the back of the instrument (apart from briefly when you pick it up/put it down), does it matter? 2. You will need to key the surface to ensure the paint adheres properly and evenly. use very fine glass or emery paper (and mask off p/us, etc (unless you are going to completely remove them) because the dust will get everywhere. If you use fine steel wool, take the p/us and fittings off, otherwise they will be coated in a fine fur of metal fragments (especially the p/us - the magnets will attract and cause it to cling) that you will never be able to completely remove. It would be very rare for there to be no finish at all on the body. Probably a satin finish lacquer or varnish if it appears there isn't any. If it is an oiled finish, you will likely find it will react with paint and look terrible or even not dry properly, meaning it will migrate to you when you play it. As oil sinks into the wood, you can never get it all off/out of the grain, so that would rule out painting it, really.

Exactly. I'm not giving eBay direct access to my bank account. I mainly buy on there and only have occasional bursts of selling. However, with the way they're behaving, I'm going to stop using it for anything at all. If they send the "Hey, we've decided we'll let you carry on as before...." email, I'll keep using it, but if not, I'll forget it.

Yep. 154 sq. in vs 78.5. Quite a bit more than a 12 and not far short of a 15.