Dan Dare

Hi Phil. I agree, which is why I suggested OP keep the 4x7 and sell the 2x7 if he has to get rid of something. I agree about the 5" drivers being better for tone than volume. The way around that is to use them in multiples, which is what I do. I also find that a couple of 4x5s plus a decent 12 (I use a tweeterless Berg - other makes are available, of course) to add some weight to the sound makes for a powerful compact rig. It's full range enough not to need a tweeter, which suits me as I don't like them for bass because they emphasise fret rattle and other nasties. Takes a bit of driving, but watts are cheap these days. I'm using them in a function band that plays mainly classic soul, rhythm and blues and similar. I may well use something different in an out and out rock setting, but as I'm ancient, that isn't likely to happen. I've tried a PJB 4x7 cab next to a 4x5 and it was definitely fuller and louder with the same head and settings, although I can't find comparative sensitivity/efficiency figures. You'd expect that, though, given the surface area of the drivers. My central point was that OP would be best advised not to sell now, whilst prices for used gear are depressed and then re-buy when the world is back to normal, people have money to spend again and prices rise.

Toys out of the pram?

Tempting, but I'll pass, thanks 😊

True, but a PJB Cab 47 will be easily the equivalent of most good quality 12s (their 7" drivers are more efficient and bigger sounding than their 5s). By the time OP has sold his cabs and bought replacements, he will be no better off.

Terms such as "studio monitoring", "Studio Pro", etc are bandied about freely and mean little, as do good reviews from the cloth-eared on Amazon and YouTube, I'm afraid. They appear to be generic Chinese DJ cans with bling looks intended to impress. I'd stick to brands such as Beyer and Sennheiser. They have hard earned reputations to protect and aren't likely to risk losing them by selling tat. Superlux is a reputable company. They manufacture mic's for EV, among others.

I think not. The device of "consistently repetitive (underlying) rhythm" is as old as music itself. It certainly didn't originate in early 20th century Europe. Try Africa.

If you sell the 2x7 and keep the 4x7, you should have enough for small gigs. I don't think a 2x7 would cut it (I know PJB cabs are big sounding for their size - I have 5 of their 4x5s). As others say, why sell now? Prices for used kit are low at the moment because few have any gigs to speak of in the book. I've actually been buying stuff for less than I reckon it's worth.

A similar experience is what led me to start carrying my own.

Inevitable, really, although fair play to him for not doing the old comb over earlier in his career.

To be fair, it's difficult not to spit a bit, especially when going for it.

Tony Levin

This. I've always taken my own vocal mic to gigs where there will be others singing. Nothing quite equals the, er, delight, of feeling that soggy dampness on the pop shield of a mic others have been using... In addition to carrying my preferred mic, I keep a SM58 in my bag. It's not my favourite vocal mic', but it does the job and makes it simple to change for the engineer as the chances are a vocal channel will be set up for one.

Music is not a sport. By that token, you should worship a drum machine. It keeps a "rhythmic beat" and keeps on going for ever.

Doesn't automatically mean he won't be loud of course 😁

I read somewhere that workers at the Fender factory originally wrote dates on the necks/neck pockets of instruments. That was replaced with rubber stamping them when a buyer found a rude message written on one.

Impossible to say without handling it, really. Looks OK, but not possible to see anything in detail in the photos. Have a look inside the upper F hole for the label. Could be cheap because they are not as popular as solid Gibsons. They have limited tonal options - they do the old string bass thump quite well, but clarity is not their forte and they can be prone to feedback if you try to push the volume. I'd be on the lookout for physical issues - neck stability and cracks in the body, especially - given their light construction. If you get it, stick to lighter gauge strings. Some useful info here - The Gibson EB2 bass guitar >> FlyGuitars.

You mention PJB. I like their cabs a lot (I have 5). A C4 would be good for the uses you describe - practice at home and with a musical drummer and the occasional gig in a coffeeshop, church or small other setting. It's a 12 inch cube, although not the lightest cab in the world and capable of surprising volume. I would advise trying them before buying, unless it's really impossible.

Flats may be higher tension, gauge for gauge, than r5ounds, but less likely to cause sore fingers to a youngster and put them off. A light set of flats and low action should ensure that won't be an issue.

I did similarly - got together leading up to and during lockdown with a bunch of other players, all in our 60s, to start a soul/rhythm and blues band, with the idea of playing stuff from the halogen days of our yoof. It's fun to re-live the good old days and there are (or will be hopefully) plenty of places we can play once life returns to some kind of normality. Loads of people out there of our age who like the music we play and have some money to spend on enjoying themselves, with the kids long grown up, mortgages paid off and so on. We have had to be careful about what is known as "mission creep". If anyone wishes to include material that falls outside the agreed aim of the band, our policy is "it may be a good song and we may well enjoy playing it, but it isn't appropriate for this outfit". That way, everyone understands and nobody gets offended when their suggestions are declined.

He has indeed and that is a valid criticism. I'm sure it's not from 1951 and I wouldn't touch it with a 10ft sterilised barge pole. However, it doesn't alter the fact that, as the neck is not being sold, talk of the headstock being the wrong shape is a bit pointless.

Given that the ad is for the body only, the headstock shape is irrelevant. H appears to have used it to make a bitsa. Fair enough and he isn't trying to claim the whole bass is a '51.

Orchid make a nice, modestly priced active DI box. I have a few and they've always worked well for me.

BF Big Baby? Light and clean sounding.

This. It appears the organisers are trying to save money by getting others to donate their gear. Fine in principle, but enforcing it is another matter entirely. .Good idea and the best option if there really has to be only one lot of equipment on stage. Personally, I don't lend my gear apart from at the jam where I'm in the house band. Like only4, I'm ancient and have nice stuff and quite a lot of money tied up in it. It's also lightweight and compact, so the "Sharing will prevent delays between acts" argument doesn't apply. I can be onstage, set up and ready to go in a couple of minutes. Give the engineer a DI and away we go. Everyone is free to decide what they do, of course, but I sense only4 is not happy with the suggestion and is looking for views on whether he would be reasonable to decline. I think he would be.

You're right. It isn't ugly. It's hideous.