Downunderwonder

Once upon a time you could have gone into a music store and cone out all Ampeg. More lately Trace Trace Elliot and Peavey. Maybe Peavey still? You could have mail ordered all Carvin until a few years ago. Yamaha. They could put out Ampeg branded basses now they own it. Fender. Any more?

At least you didn't invade Afghanistan. My first gig I did with a 6'' speaker and 50 wall watts. My next gig might be with a couple of 8'' speakers and 50 audio watts. Does that count?

What makes the difference is how you go about turning straight cable into a coil and having it uncoil into a straight cable again. I don't know anyone who doesn't wrap it into a tidy coil, but only about half do it correctly. The other half get the OP mess when they take it out.

Yerp. Search 'over under cable wrapping'. And get a velcro cable tie. As to jumping about, you want a right angle plug into your bass and a healthy loop of cable tucked into the strap. If it won't stay by itself use the velcro tie.

Used is the way to get best bang for buck.

That's geetard being geetard. I'd lose my rag and tell him to come run the sound or behave. If you've got all those spare aux channels you can tell him to buy his own mixing monitor amp and mix his own send at his end.

There's most of your problem right there. Even if he powered it with an Orange Tiny Terror on the 7w setting it would be quite loud enough for a tiny pub.

That virtually guarantees hearing loss in both ears. Your brain can't process the different levels so you have to crank the bejesus out of the IEM to bring it up to the exposed ear. If there's still live drums you're stuffed. Room mic going back to the IEM's. For the OP. Use smaller amps. Point them directly at the heads of the owners with stands. That will get your stage volume down. As for idiot singers, can't fix stupid.

He needs to sue the band to pay for the tattoo removal at the urging of his very expensive psychologist.

First order of trouble shooting is try another amp keeping everything else same.

Surely if you go high enough up the chain at NS they will have one for you? Failing that, it would be way easier to braze it to fill in that knackered Allen key hole with brass and cut a screwdriver slot, rather than make a new one from scratch. I'd be looking for a scale steam enthusiast.

A guitarist buggered that up first but yeah, I I got them mixfuddled.

He used to be 'the old man' in the band when the rest were teenagers. Only right that he kicked off first.

As tempting as it will be to avoid ''muffin top'' by stacking low you should stack end on end to best share your tone with your fans.

There's a YouTube of their 400w SS. I don't know that the tube one could sound any better. Have at it.

It went for 127£. Too bad I didn't see it earlier. Dollars to donuts it has the same power supply arrangements as the D180 which is a simple change around of the tap routing to go from 120 to 240v. If anyone ever needs the skinny on the conversion get in touch. 200w is generous for it but that's a good thing so you can overdrive it without blowing up your cab and your ears.

The SVT is almost twice as heavy as the Mesa from memory!

2nd cab everyday except Sunday, when you get the band to quiet down.

Does last October count?

Google gain staging. Clipping can occur anywhere from the bass preamp to the speaker, eventually even your ears!

Having tried picking and finding it not my bag I have developed a decent enough tip of finger twang that keeps everyone happy. Each to their own.

Flat battery is the usual suspect assuming you aren't a total newbie failing to turn down enough.

I'll contribute something a bit different, because everyone loves something a bit different. Prunes and Custard isn't a synth or a fuzz or a distortion or a chorus or phase or envelope but it is fun combining it with just about anything to get synthy discombobulated yet recognizable notes out of it. By itself it's pretty nifty too but kicking in other pedals it almost qualifies the OP brief. Disclaimer, I never used it to cop specific cover version synth sounds.

Combos make a lot more sense these days with neodymium drivers and classD amps. If you're going to gave PA support it's almost a nobrainer. On the other hand mixing brands has never been an issue for me. Plug in, tweak, play. I started all Trace Elliot then got gas and now have a multitude of possible combinations available. Never once did 'this amp plays better out of that cab' occur to me when grabbing gear to go play. A grab and go combo would be quite handy but I have too much gear already!

Mr B'ringer started out as an electronics student financing his studies by making copies of a very expensive mixing console of the day. I forget the make. Nothing much has changed in the business model.