lemmywinks

Ah but then you do the bass up, turn a small profit and buy another!

The need for a spare bass is also a great excuse to snag yourself an eBay/FB bargain beater bass, surprised this hasn't already been mentioned.

Always take a spare, had to use one twice, if you're getting paid you should definitely take one just to quickly pull you out of a hole if needed. Currently have an old Cort C5P I got off Facebook for £90 as my spare. Sounds great, weight very little and is cheap enough to live in the van. Also have a Behringer BDDI, a set of pre-used srings and a cable in the same gigbag so all my gigging stuff and spares are catered for in one carry.

This has been cluttering up my local bass searches for a while, the seller sometimes has some decent kit for sale but he's dreaming with this one. Having a look at his other items yields some interesting results: https://www.ebay.co.uk/itm/MENS-TIGHT-RUBBER-LATEX-SHORTS-WITH-DUAL-ZIP-OPENING/254595103952?hash=item3b470cfcd0:g:IRQAAOSwN~deVnsV

I haven't got any experience of the newer C series, I do have an ancient C5P but that was from the MiK Cort days. It is super light though. That one you mentioned has the same Markbass preamp with Bart MkI pickups as the B series, mahogany body instead of ash though so weight might be a bit more. They are super compact basses with short headstocks so even one that isn't as light as the ash bodied basses won't feel heavy or ungainly. Price difference is only £80 or so between that and the B series though.

I had a Cort B5 Ash that was between 6 and 7 lbs, stupidly light and felt like nothing on a strap. Get a newer one that doesn't have the Bart MkI preamp though.

You can buy cheap adjustable nuts for about £3 on AliExpress if you don't fancy throwing £20 at a Warwick one.

If you get one I have a set of LaBella flats that are just a tad too short for a 30" scale P bass, no cost as I got them gifted off here. Can't post until I'm back at work though.

They are pretty standard with bass amps, pretty much all popular makers use them (Ashdown, Markbass etc). TC put them in the higher priced heads too, just scrimping a bit with this one. It is very cheap considering what it does to be fair. Still better than having 1/4" jack only which put me off the BAM200.

The cable I'm using is an obbm one with a huge Neutrik high current jack on it, don't see the point in reducing usability in order to cater to the lowest common denominator. I want an amp head I can take anywhere with me for rehearsals, not a toy with hampered functionality because someone else might not use it correctly. All the heads and cabs I've owned in the last decade have had a combo jack IIRC, until every single cab manufacturer ditches the 1/4" jack I'll still need to take an appropriate cable with me to practice rooms.

Seen those on AliExpress where they're a tenner cheaper, you can get the whole bass made of the same wood with a transparent scratchplate for £223: https://www.aliexpress.com/item/4000389057852.html?spm=a2g0o.productlist.0.0.83ef1f67GWbM32&algo_pvid=7c3dbb69-5bb0-45ef-8b12-c22d1c544a90&algo_expid=7c3dbb69-5bb0-45ef-8b12-c22d1c544a90-0&btsid=0ab6fab215894974827868136e32e0&ws_ab_test=searchweb0_0,searchweb201602_,searchweb201603_

The combo socket arrived today as well as some nicer Torx T8 and T10 screwdrivers so I opened it up and it seems like the +2 and -2 don't go anywhere after all. Desoldered the existing connector and fitted the combo socket, everything works as it should. Nice simple mod, shame the part cost a tenner as it should have been on there to begin with

Home build or sneaky budget custom order? Either way it doesn't look like an £850 bass to me.

I'll have a go with the multimeter next time I open it up and grab a pic. You can see one trace on the underside but I don't remember seeing where the other went. Thanks for the help!

This seems to be the 2 pole version of the one I need: https://cpc.farnell.com/neutrik/nlj2md-h/speakon-socket-2p-pcb/dp/AV15768?mckv=sdkkuswy0_dc|pcrid|224645161149|kword||match||plid||slid||product|AV15768|pgrid|45968746254|ptaid|pla-893609004718|&CMP=KNC-GUK-CPC-SHOPPING&gclid=EAIaIQobChMIteXVqbih6QIVVeztCh2H7AADEAQYBSABEgKnO_D_BwE It's mounted at 90 degrees inside the amp so from the outside the socket is actually on its side. From memory the 2+ connection goes directly to the red + pad on the small PCB via a trace on the bottom, couldn't see where the - one went. So if I bought that and soldered wires from the + and - legs to the 2+ and 2- contacts on the daughter board it would be ok?

There's no handbags, I just hate people not reading a request for help post correctly and then dismissing any contrasting information if it doesn't suit them. There's a lot of ways to gig and a lot of ways to streamline setups to make them easier to manage. The OP isn't running the PA or starting a band, he's joining one where that will be done for him. All he has to do is determine how they already work and go from there.

Nah, it has long legs at 90 degrees which secure it to a separate daughter board as shown on the photo, that's what I was looking for. Something I could solder directly to this existing board and plug in to the mainboard. If I used wires the daughter board would be flapping around loose in the case and I would have to find a way of securing it, space is tight so that might be a challenge. As I mentioned I have a spare Speakon sat right here so I know what one looks like! That's plan B, which unfortunately has become plan A!

1 -You could use those adjectives but by doing so you would out yourself as someone more interested in fuelling an agenda and point scoring than discussing music and live sound. Up to you, that sort of BS is of no interest to me so take it elsewhere. 2 - I didn't dismiss Dad rock, I just said I don't have any interest in playing it as you mentioned heavy hitting rock drummers. I've played in bands with a variety of drummers, some loud (annoyingly so) and some reasonable. The better drummers I've played with have been able to control volume regardless of genre and yes, like every gigging bassist over 35 I have played creaky old rock for years in pubs. Who hasn't? It's the most common and easy style to get right.

That's my personal iPad which is an old model iPad Mini got for £25 on eBay, I use it for controlling my monitor mix so I can hear everything clearly. You don't need your own but it's handy and makes gigs more fun as you don't ever have to put up with a poor stage sound. Obviously the desk has a separate tablet but you'd need that regardless and there's no need to spend huge money. Tablet based desks (doesn't have to be overpriced Apple junk) are cheap and accessible for everyone now. I'm sure the uninitiated would look at an analog desk and be blinded with confusion, that isn't the point. The OP is joining an established band and is looking for advice on what to take which is why I said to ask them what their setup is. It was literally the first sentence I wrote on the thread. He'd look an absolute wally if they use a decent small PA with IEMs but showed up with an Ashdown Wool-o-matic 8000 because someone on a forum said Mustang Sally sounds more organic and immediate that way. If you join an established band you work around how they work.

We can play some small pubs with a compact PA (our subs have a smaller footprint than our stands btw) and it works fine, as it does for many bands all over the world on a wide variety of stages large and small. Volume is only an issue if your drummer is too loud. The room for monitors thing isn't an issue any more as we all have crystal clear monitors which fit in our back pockets. If you have no monitors how would you hear keys or vocals, relying on sound from the tops which can be hit and miss in small pubs? Personally if I was in the position of the OP and I joined a band who just handed me a DI box I'd be over the moon. If I left my band that's exactly the situation my replacement would be in. They'd be strolling up to gigs with their entire rig in a bass case

It's not expensive. When I moved from an amp to a wedge I made over £100. When I moved to a basic set of in ears the price different was £540 in my favour. Our RCF tops which are full range were about £900 from memory. I can change my monitor mix easily on the fly, if I can't hear backing vocals or something is too loud I can adjust it in a second or two using an old iPad Mini clamped to my bass stand (£25 for the tablet off eBay, £12 for the clamp), the screen is always on so you just move a slider with your finger. This might happen once or twice in a gig, might not happen at all. Again the "constantly fiddling with your mix" is something you fabricated to diminish someone else's POV. Our setup is also simple, effective and quick. I'm not sure what you are trying to do here, the OP asked a question and he was given some bad advice based on assumptions.

Evidently not if your posts are anything to go by. It sounds like you couldn't manage to get a scaled down PA to work in pubs. We do and a ton of other bands do as well, IME they usually sound better. This is what all the good function bands I know do regardless of venue. Basically what I was saying is that you can have a very simple setup of everybody having some sort of isolated monitor, lower stage volumes and the engineer having direct control over everything rather than having to work around the hard limits of backline volumes. This can be a simple setup involving less amps/cabs and two cable runs per member, miles more room on small stages (ie small pubs), everybody can hear themselves and the FoH can be as loud or as quiet as you choose with no interference from backline. Again you don't have to agree with it, just don't dismiss it when you couldn't get it to work and found it a worry. It works for us and leads to a much better gigging experience with less heavy equipment and a more streamlines setup. That's all I was saying and I have no idea why this is hard to grasp for you.

I don't play dad rock and we avoid "heavy hitters" as IME that usually translates to no control and stupid uncontrollable volume wars on stage leading to terrible FoH. Some of the best drummers I've played with have been able to control their volume and still sounded great which is key for small gigs and stages, if you have a loud drummer then like I said you've lost before you've started. It doesn't matter what your PA or amp setup is, you're too loud for a lot of gigs. I don't know where you get the idea that isolating the on stage sound from FoH is not "organic" or "immediate", that is just fabricated nonsense. Also the FoH sound is always different to the on stage mix (sometimes drastically) so this could translate negatively to what the audience hear or vice versa. Again it's about handing control to the engineer or whoever in the band is setting levels while being able to hear everything more clearly on stage. Adding in variables and bizarre adjectives like "organic" and "immediate" helps nobody as they are essentially meaningless.

Thanks, I managed to find an identical part to the one in there (Neutrik class is as chassis mount) but as you said it looks like they only make the vertical and horizontal 2 pole versions of their combo socket. Seeing as the board needs to be secure inside the amp (it's a pretty tight fit at the back) I don't really want to solder wires to it as it may rattle around so will probably just go for an external adapter. I have a spare regular Speakon combo jack here so may look into making a mount to attach the daughter board at some point.

It's not really an argument! I'm sure you've played with a drummer who buys a new snare that sounds really good, only it makes you blink every time they hit it because it's so overbearing. Best saved for the studio IMO as I can't live with that every few seconds and I wouldn't expect anybody else to either, certainly not paying customers. Then again I've played with amazing sounding drummers who have great control over their volume. One of the best sounding covers band drummers I've played with wasn't at all technically brilliant and was the quietest, most laid back drummer I've been in a band with. He sounded immense mic'd up though and you would never guess it was him if you heard him acoustically. He did spend an eye-watering amount on drum mics though. Personally I've never had the quality FoH sound that we have now, we have the live soundcheck feature on our desk and you can sit out front and listen to yourself, the clarity and even spread is amazing. I don't miss amps at all really, being able to hear everything clearly (and being able to change your personal mix on the fly) outstrips everything for me.