Downunderwonder

Could easily be an infant mortality on the preamp tube responsible. Or it got loose in transit.

I think you're probably stuck with the 'patina' you have now. Satin finish refers to the texture of the surface that is exposed to the elements. It seems you have polished a stain that got into the clear coat. Ain't nothing going to bring back satin except taking to it with super fine grit but the stain will still be there. I would leave it alone.

I thought Eden bit the dust after Marshall disowned it?

Dunno if they still make them but once upon a time there were medieval torture devices disguised as hair trimmers that consisted of a handle and comb guard which took a standard safety razor blade.

I think our ernest pal Agedhorse missed the point of your enquiry and took a tangent. They are indeed subwoofers. I couldn't say if they have the oomph you need without running down the specs of your other cabs. That's another question AH might address.

My jazz charts are all written 4 on the floor. Listen to them being played and you would think they had mucho flyshit even though ostensibly the bass is 4 on the floor. Exact same goes for classical soloists. Even though a lot more is written out the nuances are on the performer, nothing robotic about it. Sheesh.

I put it down for three years. It was hell coming back but well worth the effort. If I had known how hard it would be to get it back I like to think I would have maintained my practice, but at the time I had nothing to practice for and solo bass doesn't amuse me.

I have been asking the same for some time with nobody coming forward with anything concrete.

No problem because it won't be making any fundamental of that B. 100% the room is tuned somewhere around 60hz or 120hz.

That's only the 2nd clue.

You would have to get down to a cartoon cramped nut to make a blind bit of difference.

You should know what chords please your ears. You can train your 'ears' to recognize intervals and complete the circle.

I mentioned that process, pretty sure there was no need to be a business to get in on the act.

Any sub can sound like skid marks if you send it too high or low or too much too much. Your active ones should be self filtering and limiting to avoid that but may allow leeway for user exuberance to cause the aforementioned skid marks. So do please RTFM! There's a temptation when your subs are out gunning your mains, to raise the low pass on the subs to help them out. Meh.

Yes and no. I can sight read pretty well, up to the point I can't keep up. That's enough to get some gigs and not others. Players that can sight read anything put in front of them and play it like they mean it are the 1%ers. They are mainly too busy working to post much on forums.

The keys go hand in glove with your fingers knowing the scales that go with them. Then the 'accidentals' ( the extra sharps and flats ) show up in your scanning ahead to engage the brain in a shifting finger from the scale note to the accidental. Incidentally, the 'modes' of the scale have you playing a whole lot of really odd sounding notes without accidentals. Real jazzers can play them all by ear. I only know 'major' and 'minor'. If you start a scale on A but play all the notes of C major then you're playing an A minor scale. But you don't need any theory to read it and I couldn't possibly tell you its mode name of C.

Just noticed this: Add another week to the timeline?

If you can play it you can read it. On a first run I will sometimes switch modes from reading to inuiting based on what it sounds like it should be given the flyshit as it appears in view. Ain't nobody complaining. My teacher used to say, pieces are just mixed up scales. The key of the tune gives your fingers most of the notes and the sharps and flats are the only info that has to be dutifully read along with the note durations. When it jumps around your brain has a bit more work to do but even then you can recognise the interval and transfer that to your finger and hand position without having to go via note name and position on the instrument.

Exactly where I was when the opportunity came up to play in a big band. All of a sudden I was 'reading' bass clef until I was reading bass.

Go for gold.

Based on the 24th to 28th window you could easily add an extra couple of days just to arrive in UK. Then add another couple of days just for PF to sort and convert the tracking. I wouldn't be concerned until a few days into September. The original tracking ought to ping the handover in UK. I have had DHL from Germany arrive completely unannounced by the German tracking so you never know your luck.

Made in UK. Real mystery machine. 208 = 2x8'' speakers, in a self powered box = an idea before its time.

Cash is suffering much greater depreciation than bass gear thanks to inflation. Hang onto it. Then you have no impediment to grabbing an opportunity to get back into bassing. I was out of 'the scene' for a few years and hardly so much as picked up a bass. Didn't even cross my mind to sell my gear. These days I am mostly playing jazz after impressing a jazzer in the audience at an open mic. I had installed myself as house bassist playing along with whatever needed bass, rock country reggae pop original samba groove, you name it I played it, or dropped out if I had no idea wtf was happening. The jazzer had a drummer lined up for an improv project. We had one jam and lined up a gig. It paid a pretty penny to play whatever came to mind as loud as we liked. Best rates ever. Private parties for fans. Damn I miss that band!

I sent a bass away with a computer specialist courier no worries. Their truck could hold all manner of giant monitor screens and boxes with dividers and tie downs to separate stuff from banging into other stuff. They weren't any more expensive than Chuckitt & Smashitt Couriers Inc.

..until you stop with the boomp boomp boomp and all of a sudden the band sounds like half the members went to the bar.