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We all have different sounds in our heads. How do you go about getting the sound you want? At home, in different venues, maybe when faced with an unfamiliar amp. Looking for your thoughts on how to go about achieving different sounds, especiallyfor amp only setups.

Like Eating Glass - Bloc Party

Seconded!

Have to agree with @Wolverinebass and @Phil Starr : my two Monzas seem perfectly stable stacked and the corners do interlock. However, we all have different standards for these things and perhaps a heavy head makes the OEM setup feel more precarious. I have had issues with the rubber feet on my BF Two10, I think caused by over enthusiastic helpers dragging it out of the van at a gig. Basically one foot was torn out of the wood and another bent at an angle. I had to remove the remaining feet to play the gig. Fortunately I had my isolator pad with me so there was no damage to the tolex as a result. The mounting holes needed a little filler repair in order to replace the feet. Not the end of the world but it would be better to have them mounted into captive nuts IMO. I understand why manufacturers don’t do this, as it would add cost and time to the build. Interlocking corners seem to be a good low cost solution.

I don’t use rounds so I don’t know how they feel , but looking at the gauges maybe the labella 760FL (light) which are 43-104 , I’ve got them on a few precision’s and they are a nice sound and tension, below that is the 760FX 39-96 (extra light), the LTF’s are my personal preferred choice, similar tension to TI’s but not as bright

Nope, the TRCs on her Rickies (and they're real ones) really do say Rickenbecky.

She was indeed, and she is their current bassist. I've known Becky for many years, in fact she actually depped for me waaaay back in the dim distant. Since then I've watched her career rocket off through the roof, and it's all down to her hard work and determination. She's a great example to us all, regardless of gender.

Just bought a barefaced one10 off nick. All very easy and quick. Cab was packed well and delivered intact.

We all get you’re a slave to your art and that’s great. I work as a writer and my job is being destroyed by AI. In August I earned nearly £1000 from depping which enabled my family to eat and enjoy our holidays. I earned £500 from my writing work. (Thankfully it’s picked up now.) Depping is a job like any other. Can you pick and choose your clients? I assume no. It’s the same thing.

From what's above, the problem is likely to be a failed capacitor underneath what looks to be nasty stiky-backed foam. The undulating foam suggests surface mount components, which can be tricky to work with The good news is tracing back from the output jack via the volume pot should lead you, eventually, to the dodgy capacitor (if that is the cause).

Replied above - yes, reducing volume to 0% is a workaround for now. I've been putting up with it for a while but with some big gigs coming up I've now decided it's no longer "acceptable procedure"! Pics above - but I don't really know what I'm looking at and can't see anything recognisable to me as a capacitor. Sounds like that (or the pedal version posted by @chyc) might be less fiddly than replacing the capacitor inside the preamp circuitry, and a cheaper solution that replacing the entire preamp. Will check it out, thanks.

I was very tempted for the Monza the first time I played it as well @Chienmortbb. I was loathe to upgrade my amp power though, and my Silverstone was plenty good enough for me. And I’m tight with money, lol. But the Goodwood is wonderful.

I see depping for bands the same way as I see my graphic design day job. I am there to serve my client. If I think that they are VERY wrong I will politely suggest an alternative. Once. If my client chooses to ignore that advice I will produce them exactly what they want without further comment, take their money at the end and thank them for it, and ask what other projects they have for me. I won't have a moan about it, because it's not worth the effort. I might even use the work in my portfolio if the client is an impressive enough name or if their brand is relevant to attracting potential new business. It's gratifying when I do produce something that I can also be proud of from a creative PoV, but first and foremost I do it for the money, so I can pay the bills. However I think it is telling that the one piece of graphics work I have produced that will live on in the public domain after I am gone is something that I did for myself and not to any client-supplied brief. So, for me music is too important for me to waste my time playing songs I don't enjoy. Aside from the fact that I'm simply not talented enough to take on any depping job, I don't want to do that. I've played in covers bands enough to know that for me it's a route to hating songs that I used to enjoy. If I was good enough to be a dep I'd play the songs, take the money and leave it at that.