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The derail continues. You seem to have a real point to prove here but I don't know what it is. Ok, one has a really loud saxophonist on a particular stage, fine. Now, will that stage be overall louder or quieter if a hypothetical two guitarists and one bass player are playing through backline or playing through digital modellers straight to the board? If the guitarist can't hear themselves they are free to ask the saxophonist to play softer whether they have backline or not. BUT, if the saxophone won't play ball then the guitarist might want to turn themselves up to match. When using backline this affects everyone, when using IEMs this only affects the guitarist. You are now going to say "yes but then everyone will need to turn up their IEMs and risk hearing damage" and again you are correct but you are correct whether there's IEMs or not. The problem in this case is the loud saxophone, not that somebody else in the band is using IEMs. Again, nothing about live sound is perfect. I reiterate that you can have good and bad mixes using every single approach that I can think of and probably a few that I can't even conceive of. I posted in this thread in response to a post suggesting that ampless was only for big gigs, I dispute that. None of the rest of this is really relevant. As you correctly point out live music can be really loud, dangerously loud. You don't have to go to a metal show to get hearing loss. I am in favor of more options for more people to not get hearing damage. Ditching the backline is one possible way to achieve that, there are plenty of others.

That sounds fine for me.

It really depends if people are on the dance floor or not. Giving people's ears a rest for a few seconds, a chance for them to clap, or tell their mate how awesome the bass player played on that song, is ok. But yes, uncomfortably long pauses where it is obvious that the band are waiting for someone faffing, before they can start the next song, isn't a good look.

Baby Heart Dirt - Cardiacs

My knowledge is limited but I know it's possible to make carbon fibre conductive. There are a variety of ways to make it happen though, including embedding prefabbed circuits, metallic meshes and just using more conductive materials in the resin (e.g. graphene nanotubes). I believe it's also possible to design in specific resistances but it's not as efficient as metal.

I think you'd need a slight delay (a few milliseconds) on one channel to sound like two basses - perfect unison isn't.

I paid £65 for mine but sent it back, purely to free up some funds, but I’m also itching to try a ToneX (going to sell my Microbass 3 to fund it), but if the offer comes up again I’ll jump on it anyway.

Given that you are marketing CF necks elsewhere on the forum, I will assume you have good knowledge of the resins and matting that are used with this composite material. On aircraft. electrical bonding of panels with conductive straps is essential to conduct lightning strikes away from critical systems. How conductive are those panels (in this case, the rails) if manufactured from CF when compared with glass fibre reinforced resin?

My sentiments exactly! Especially the part about having a written record….just in case something goes wrong.

Yeah, that seems fair too. Of course I'm aware that what went for me not necessarily goes for everybody else, and I don't want to make general laws out of my personal experiences, but I do still wish to show possible readers one of the different sides of the coin. In this, I thought my experiences could well resemble the experiences of similar niche shops. As to the offering of email as a method, indeed if it doesn't work for the shop, they shouldn't offer it. Also in this respect there is another side to the coin: if nearly everyone gets a good answer and a few do not, you can be sure that those few make a lot of noise about it. BTW, I've never blamed people for using email, and I'm sure neither do Bass Bros. As I said earlier: IME email has seen little in the way of revenue despite my quality answers. People talking with me, me analysing their needs and them "sittin' in that bote" has seen revenue. Me telling on BC that email is inefficient is not the same as my shop not offering it or me blaming people for using it. But yeah, after some years I did ask people to avoid it if possible.

As far as email goes, these days it is a less than ideal way of doing business. I got back from holiday a week and a bit ago to an inbox of 250 work emails, most of which were cr*p but more than I expected requiring a response. My boss had been away for the two weeks before me, monitors a team email account since someone left and wasn't replaced. He told me that he had deleted a large number of emails looking for business in my area when we had already said that we wouldn't be accepting applications, because he didn't want to bother me with nonsense emails when he knew I would have an overflowing inbox. However, someone later contacted me separately with a different query that I answered straight away. She then asked why she hadn't got that response when she made the same query three weeks ago. Almost certainly, her email had been accidently deleted along with all nonsense ones while I was away! You have to remember that Bass Bros offer a specialist service, operating in a very niche part of the market. They are also very good value in that part of the market. A couple of months ago, I was looking for a new bass with a budget of up to £3k. I talked to Bass Bros and another specialist, who are really good but generally a bit more expensive. Will was selling a virtually identical bass for around £450 cheaper than the other guy. When it came to part-ex another bass, he offered £500 more! I ended up selling my old bass to Will (again, for an acceptable price) and buying a bass for a little more than half my maximum budget on eBay (a Fender AVRI rather than a Custom Shop), but it was obvious that Will does offer an extremely good service in that space. Of course, you can deal with Andertons and get your emails answered straight away by a bigger organisation. But you won't get the benefit of the specialist service the Bass Bros offer, if that's what you actually want and if you're prepared to pick up the phone!

I was simply turned away by security before I even got to the exam room... They claimed they lost my entry form on thirteen separate occasions.

MMA: Mediocre Musicians' Association I failed the entrance exam 😪

Not posh at all and certainly not from Edinburgh. I was making note of the fact that the "Bash" without corporate sponsors will have more modest purses for the combatants than a fully fledged MMA card. Hence, it may prove a struggle to procure a whole bottle of Buckfast or glucose and rat poison laden wrap of gear for the victors. However, if it is possible to "get us up to the big leagues," I'm all for it.

I had both TB10 and DB10. As noted, the only difference was the preamp. I gigged it with an added strap button, bass guitar style, or on its stick, upright style - video of latter here https://wilybo.com/acoustic-band-videos/1982-2/ It was thumpy and great for DB style sounds (I had my most recent, with the cool tube preamp, strung with Rotosound TruBass black nylon strings) but a bit heavy (especially in its tank-proof hard case) and clunky. I sold it in the end as I barely used it in the bands I played in. Were I to go acoustic Americana again, I would consider re-buying

Totally not accurate. Even with individual monitor mixes volumes will still vary and keyboard players are the worst. I've worked for years in musical theater in NYC and they pay programmers a lot of $$$ to setup the multiple keyboard patches to specific levels and even then it doesn't always work. The last show I played on Broadway was the Neil Diamond "It's A Beautiful Noise" musical and the band was onstage. Everyone was required to wear IEM's and we all had 16 channel monitor mixers. Players would still get volume notes and even with my custom 25dB Westones IEM's, when the stage would move forward during parts of the performance the ambient volume would overwhelm my IEM's and I wasn't about to ruin my hearing for some stupid gig. Even warming up the sax and trumpet would be so loud acoustically, turning them off at my mixer did nothing. Not every situation is guitar, bass, drums, keys and vocals. The loudest gigs I've played have been with brass players. Try turning down a saxophone.