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Aren’t those all actresses? You know, of that certain kind …

That's sad to hear. I notice that GuitarGuitar have started selling them again. I'm a big fan of G&L, I bought a used L2000 Tribute off Reverb yesterday.

Yes, I’m afraid so. Development for v3 ended at v3.61 (no more code space).

@Stub Mandrel when you say "the other guys were less lucky" don't you mean less fortunate son 😂 I'll get me coat 😐

It's other people's irrational prejudices. Although I've never had a problem taking a headless fretless 5 string to auditions, so maybe there aren't that many irrationally prejudiced people around, we just assume there are.

I'm seeing a few rumours on the internet - only rumours, mind - that G&L are in trouble. See this post from one of their master builders. If it's true, I hope they get through it...

Don't tell John Hall, he'll sue her! 😆

Am I not right in thinking that were 2 identical cabs to be stacked, the corners would lock? Therefore why would you want rubber feet on them? Wouldn't that just make them less stable rather than more so as they'd be on 4 small rubber feet? Aren't the corners there to be scratched? Hence fulfilling the dual function of stacking and protecting the wooden frame? I seem to remember lots of people moaning about Barefaced having crap rubber feet several years ago and disliking them. Plenty of cabs have the interlocking corners. I don't see what the problem is.

Fizzy — The Jesus and Mary Chain

All good crowd pleasers. That's what Top 40 cover bands are for. I have no problem depping with these numbers in the set. At least I don't have to learn 15 songs that I'll never play again and suffer a lukewarm response from the audience. One song which always raises the roof is Hi Ho Silver Lining. We only have to play the first verse and the audience sings the rest of the song, louder than we're playing! I'm sure the band gets rebooked once a month on the audience reaction to that song alone!

some of these maybe? https://www.palmer-germany.com/en/Products/DI-Boxes/

Right, I know this has been asked a million times but bear with me. I've been playing D'Addario 165 rounds for years (the 45-105 nickel ones) and like the way they feel weight/tension wise. Now I want a proper old school set of flats - probably something Labella flavoured. Anyone recommend flats that will feel broadly the same weight/tension wise as the D'Addario rounds? How will the Deep Talking Flats or Low Tension Flats compare? FWIW, I have a set of dunlop flats on a bass right now but I've really gone off them and I'm not sure why. So if anyone could compare the Labellas to those as well that would be useful!

Also missing All Right Now and Sweet Home Alabama.

I think mine is about 1976.

https://www.basschat.co.uk/topic/29338-mike-brooks/#findComment-5554881 Feedback from Mike Brooks - Brooksy's Bass Corner

Marked out the fretboard for cutting slots - basically made a small mark for each fret using both scale lengths, from the parallel fret (in this case I settled on the 9th). Then joined those marks up very carefully using a 0.5mm pencil. Used a planed offcut of the body clamped to the top as a guide for each slot as a precaution, which worked really well!

First thing I done when I got my pair of Monzas was to put heavy duty rubber feet on them as I wasn’t confident enough with the corner pieces when stacked. Simple enough to do. Other than that I’m really pleased with their sound and performance. Glad you’re enjoying your new unit! Great products x

Ok, sorry for delays, I've had the chance to put the Goodwood through it's paces more now, and I like it. This cab is mighty loud. I'm not actually that surprised by that, it's a 10" driver in a box that many standard 12" drivers would fit into. I feel like many bass cab makers make their boxes smaller than they ought to, which reduces low end sensitivity for the sake of easier carry. I get it though, a properly sized driver in a properly sized cab ends up a lot bigger. I've had no problem keeping up with a loud guitarist and loud drummer in a jazz-funk setting, even with me using octavers and whatnot. That was great. No problem carrying the room with a a mic'd up ceilidh band (fiddle, mic'd drummer, mic'd accordion, and me) at the weekend. A church hall with about 100 folks, so not a massive gig, but plenty enough to carry the room without PA support. What was great was that my drummer, about 70 degrees off axis to the cab, had no problems hearing me either. I do love the horn on Stevie's cabs. It's pretty good outdoors, although I want it on the ground near a wall to get max volume out of it when busking. But then I'm unusual in that I'm busking with a drummer on a proper portable kit. Every bass sounds honest through it, same as for the Silverstone. There's no hiding, what's in the signal chain is what you get. The B-Amp is a very good match for the cab, as I can sculpt the tone out for the room with high and low pass filters and then use EQ for other areas as desired. It also matches the B-Amp power rating well. (When I tried the Monza, I felt like that might want a slightly more powerful amp than my B-Amp to get the most out of it.) The Goodwood is very slightly leaner in the low end than my Silverstone (around 100Hz), but in real rooms when it's placed on the floor, I need no bass boost. I'll try and see if I can do a video review of it. It's a great cab. It's way more capable than any other 10" box I've owned, which has included a Barefaced One10 and the venerable Acme 1x10, and beats some 12" cabs I've had. This is the most compact FRFR solution apart from an LFSys Monza, and it's a fair bit lighter and a bit cheaper. I finally might sell my Silverstone. I try to be a one-cab guy...but I've had that for so long I can't quite part with it...hmm.

Is this just for V4?