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A few more. Sadowsky DI. Does it actually do anything? Had it and quickly sold it after finding out it was pants. I read so much about how among it is, maybe mine was broken 🤔 KZ IEM's. Didnt like the sound, didnt like the fit. More drivers the better also seems to be a myth.

I think these look great, but are overkill for me ........ and very expensive. Just looking for a case which is easy to load the amp into and carry, and will withstand the crush in a full car. Something like the Case for the A&H CQ18T would be perfect I think . https://www.trifibre.co.uk/product/eva-softshell-case-420/?utm_agid=&creative=&device=c&placement=&utm_term=&utm_campaign={performancemaxcatchall}&utm_source=google-ads&gad_source=1&gad_campaignid=22119351978&gbraid=0AAAAAD7GjRRI8UWHsGXtuclMVZr7JMl9Y&gclid=CjwKCAjw7_DEBhAeEiwAWKiCC5Nd0-wtxRmojiEsa_EmdaYZJ5TtEQtVmsCY8VfarYiVOfnWEss_TBoCi3AQAvD_BwE But wanted to check what others have used.

Nice... Great. 😎👍

Well, it's jazz so who really knows?

I was waiting ......... until I have enough experience. But as a teaser .... I too have had a Monaco for almost a month. 2 Pub Gigs 2 Outdoor Festivals 4 Rehearsals On it's own in my "music room", it's REALLY GOOD. I've had 2 * Vanderkey 12 EXT's, Mesa Subway 15 plus 12, and a Barefaced SuperTwin. The Monaco in terms of a really even and pleasant sound across the frequency spectrum, is the best yet. Gone is the endless tweaking EQ to tailor the sound. In Pub Gigs, I can hear what I'm doing, the band can hear what I'm doing (😳), to the extent that the drummer keeps telling me my bass is too loud in his monitor ( even though it's not going through his Monitor!), and, unprovoked, the Guitarist likes it, and say's its so much more "even" across the frequencies than previous cabs. In rehearsals (which are in a small space and VERY loud, it's great ..... no problem with volume. At festivals with full (BIG) PA, it's good, but, I'm driving it with my ABM 600 cranked to stupid volumes which I'm uncomfortable with (as much gain as the VU indicates is "OK" and master volume at 3 O'clock!!!) This is because the band are not used to utilising Monitors which have more than vocals in, and in both festivals there has been no floor wedge for me .... so stage volume is necessary for the band. Still great, and the sound is fine both on stage and off. But at 8 Ohms, I'm worried about the ABM 600, which might be running out of puff. So, not a speaker issue!!! So, could buy another one, or get a bigger Amp. Trace Elliot TE1200 now with me and in my music room it's great ......... rehearsals and gigs next week .... I'll keep you informed. One other point It's really easy to carry around and transport ..... much more so than 2 cabs or the bigger Supertwin. It a big hit with me!!

IEMs. (Xvive with ACS custom) After being told by most of the band and online about how amazing they are I got some and found them a hassle for bass playing and combined cost about £350 for something I haven't ended up using. Batteries needs charging, cable snags on things and makes noise as moved, sound cuts out sometimes and when it works the sound quity isn't great - poor bass sound (and this is with ACS custom moulded in-ears), relying on mixer settings etc, it just all adds complexity as I still need my Amp/Cab which I'm stood in front of as the PA isn't up to the task (so I don't need to monitor myself), and I'm stood next to the drummer so I can hear that main thing I need from the rest of the band anyway even if there weren't monitors (which there are - as the drummer needs them). I can see it being worthwhile if the whole band use them so no stage monitors, and if the PA wad good enough to not need a bass amp/cab. I do also have ACS earplugs which are great though.

Welcome Otis.

You play wrong notes? Fascinating, Jim…

For those who find flats too dull and unpleasant to handle, I have a jazz with the old 1960s style mutes. With rounds it gives a really great thumpy sound but doesn't kill the tone as much as flats. I find it fits those early 60s pop/mowtown songs.

So they hear all the wrong notes? This is getting worse by the minute!

It's Scott's Bass Lessons, but yes, the guy's not gonna correct me in real time

I've tried my V4B thru my Ashdown RM410 cab at the weekend It sounded great before the guitards turned up so loud I couldn't hear anything (and subsequently I had to stop the gig, on another thread) I've got some Ampeg silver grill cloth, which I'm going to cover the Ashdown in, so that it matches

A few pics of my archlute (Austrian, 1973); sometimes referred to as a theorbo, but a theorbo is more usually a shorter baritone instrument, whereas this is the full bass daddy, an inch under 6 ft long. I do play Renaissance 8-course tenor lute (included in last 2 pics) for scale) but I've had the archlute lying around for years without getting to grips with it. Actually not an insurmountable step, as it's essentially a standard fretted tenor lute with a set of unfretted bass drone strings on the bass side, like a harp. It was mainly used for continuo playing to accompany voice and/or other instruments, but there was solo music written for it mainly in late Renaissance / early baroque Italy by composers such as Kapsberger . A few regrets with this as I traded my favourite mandolin for it (a 1975 Mike Vanden F5), but if / when I finally hang up the bass guitar I'll hopefully have the time and motivation be able to tackle learning it. Also the 5-string banjo sitting idle in its case.....

This is reminding me of the music teacher who took our high school big band. He'd go off on these diatribes about swing and how if you had to ask, you did not got it, like some parody of a 50s jazz cat. Perhaps not the most effective way to educate.

I use nothing but flats myself, for both the tone and the feel. From what I hear in a jazz context an electric bass with rounds doesn't sound right and gets in the way (though others may disagree), but it's probably quite different in other genres. To answer the question - pedals. Over the years I have tried various ones, e.g. reverb, wah, fuzz because I thought I ought to but always end up discarding them and plugging straight into the amp.

The original neck. It sounds like I should leave the truss rod alone when storing this, correct?

I know exactly what you mean - I was brought up on the glassy clear tone, but not because I'm a crazed slap addict - Mainly, it's because Singers, Wind & Brass players all pitch from the overtones/upper harmonics that occur naturally from the bass. If you have a 'cupboard full of blankets' worth of flats, or dead, old and lifeless strings, they have nothing to pitch from. Having a clean and bright (but also rich and bassy) sound is essential for me. * Your blankets analogy made me laugh out loud! 🤣🤣🤣

Fretless neck is here. Bolted on (first time I’ve done that) and tuned up. It’ll need time to settle but it sounds brilliant! I’ll leave it for a day or two as currently there’s a bit of back bow so once the strings add some force the other way it’ll either be right or need some truss rod adjustment. The fit and finish of the ebony board replacement is great, I think it’ll come up really nicely with some epoxy.