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I do remember that one too yes!

I've a fond spot for those threads which provide an answer to a question that wasn't asked, always entertaining

I disagree with this. Phones have enabled more people to take more pictures. You still need a good eye to take a good photo. Same with mixing desks. More people have more power and more control at their fingertips if they still have cloth ears, the results will be even worse than simple treble and bass control. See the recent Sound Engineering Guitarist thread.

I’d say whatever option is cheapest! If you have access to some foam offcuts that’s probably best, especially the dense black type. However, some roll end cord carpet would do the job, although will weigh more than the foam option if that’s an issue. I did a case in this ages ago and used rather smelly but strong carpet adhesive and it was fine. Easy to hoover out too.

Oh dear

Fantastic bass never had a Short Scale before , thanks very much Ash

I wasn’t aware of that one but I see it has a 42mm nut, which is too wide for me. Otherwise looks very interesting. Somewhat in the mold of the Watt Plower II with the pickup configuration. That leaves me still gassing after the Warwick Starbass (bit cheaper too). Hard to get hold of though. Anyway enjoy your new acquisition. It looks the business.

A soundcheck is essential when the person mixing is also playing, because it's nigh on impossible to fix things on the fly or even hear if anything is amiss unless it's really obvious or glaring. As others point out, it should be brief (no noodling, practicing in public, etc). If there are people in the venue, I set up individual channels on cans, then play a swift burst of a recording I'm familiar with through the PA to check the FoH sound. Then we announce that we're doing a soundcheck, the band plays and I have a quick walkaround (playing via my wireless) to check all's well and make any adjustments needed. Only takes a few minutes. Better that than trusting to luck.

This.

Just like some Mesa Boogie's, called Dual Rectifier for a reason. 😉

The Seymour Duncan Convertible combo had the option of a solid state or tube rectifier, which may be what you remember, @Dood

There is the other thing as well though, the rehearsal soundcheck, where a band who have a name but clearly don’t get together aside from at gigs go through their whole set - or at least a large part of it - at soundcheck, working out what chords they are, what key it’s in etc. After getting there an hour late. And then the support band get 5mins to get levels right.

That is the way to do it mate, I'm sure that's pretty much what the band I saw in New Orleans did also. I find that for most of the bands I've been in, the soundcheck has been at best an unnecessary ritual (I've always advocated for Jack's approach), at worst an ego trip for one or more of the band who want to show anyone in the room that they're of higher status (in their own minds) than the rest of the band; the singer (usually) or guitarist (if it's not the singer) who whinges incessantly about his levels, tone, FX etc while the soundperson plays with the DFA knob and nods agreeably.....

Option 2 for me. Whilst I agree it might appear unprofessional, it would be even more unprofessional to go onstage for 2+ hours with a terrible live sound.

Well, I bit the bullet and bought the Reverend Fatfish 32. Lovely neck - the 32 is a very comfortable size actually, it sounds great - playing mainly on the front humbucker just now which gives a big warm fat tone but still with plenty cut in the mix, it’s a relatively big body but still feel pretty comfortable. All in all very happy with this purchase. And I can now do a small, medium and large photo, like this: 😃

Luke bought a Vista Musicmaster off me. Great comms throughout the deal and a nice easy transaction. Met him in person when dropping off the bass and had a good chat about bass, music and steel guitar. Very nice chap.

My covers band has started every gig for the last 15 years with the same song. All three of us sing, so we take a verse each. Three minutes into the gig, our sound engineer @Silvia Bluejay has heard all three vocal mics, guitar, bass and drums (usually with everything going through the PA as well as backline) and our sound is sorted for the rest of the set. The audience (pub / club / festival / whatever) has no clue that they just heard our soundcheck.

Asomovel. Thats the one. Thanks Lozz. A proper old fashioned heavy metal band and the bass player uses a rather lovely Washburn B20. I have a feeling (responding to Reds point above) from watching their social media all of the boxes are real and loaded. I remember a couple of gigs I did about thirty five years ago with Saxon (in a very lowly PA tech type capacity). They were doing small rooms and we were touring a PA. Biffs only rule was that everything had to go in. A 45' trailer of Martin F2 plus twenty eight Marshall 4x12's. All of them loaded with four speakers. That was hard work.

People pay up to bring a quick end to the bass solo

Can't get this out of my head now. Thanks everyone.