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This is the correct answer. The one in the classifieds.

Yeah, that was one of the reasons I returned the new one I bought. You needed to buy the control processor just to get a down sweep. PastFX do an excellent 101 clone in a normal-sized enclosure with solid build quality so I’m not as interested in this particular Behringer version, though I’m sure it’ll be good.

No, it really wouldn't be interesting in a situation like a Bass Bash. The Thumpinator filters out frequencies below 25Hz, which you can't hear, but the amp still tries to boost. If you are trying to A/B a bass with or without a Thumpinator, in a room at a normal volume, then you will not be able to hear any difference. But if you are putting the bass through a PA in a large room with a wooden floor, brick walls and a high ceiling, then a HPF stops the sub-bass frequencies (that are too low for you to hear anyway) from bouncing around causing havoc with the overall sound. https://sfxsound.co.uk/microthumpinator/

OK - the fretless neck is adjusted and the action/intonation is set. It plays beautifully - amazingly the intonation is pretty spot on - I can't get it exact because of the shared saddle arrangement, but the new Albridge will sort that. However, I will install that last, if I need to - I quite like the original bridge, so given the inaccuracy of my fretting, it might not need to be perfect. We'll wait and see. Along with the wiring harness, one other job is to correct the slight slant of the neck pickup. There's room under the pickguard to move the pickup by a few degrees, but doing so will necessitate cutting the scratchplate a little to make it fit. What I'd like to do is fit a bezel around the neck pickup, using w/b/w pickguard material in a rectangle, to go around the J pickup and hide the gaps left by the old position. I wondered if anyone on BC has the skills/time to make this, otherwise I could try a pickguard website (I have used tinyTone before with great results) It just wants to be like this, around a dimarzio J pickup

I still have nightmares about the time I gigged in lycra cycle shorts. WTF was I thinking 😂

I'm bringing my Japan-exclusive ebony board one so it'll be interest to compare the two.

Id only been playing about a yr but just had to have a dirty grt Ampeg V4B rig ( or so I thght). Trapesed all over the country, found one, shipped it back to the south coast at stupid expense. A few weeks later popped into my local store and to my horror plugged into a brilliant Peavey 150 combo....The exuberance of youth really is wasted on the young.

Thanks for the input . The reason I mentioned Warwick in particular is because in theory , it would make sense to purchase a new version of the corvette without all the faffing about . The downside if I was bothered , is that it would cost more for a Chinese version which some would say is mad due to the quality of the original ( 1996 in my case). To further muddy the waters , I do have one other fretted bass I could consider downturning instead . My main go to bass ( Washburn status) will always remain in standard tuning . There is another angle I thought of regarding purchasing an already down tuned bass and that was getting an ESP instead . I did think about a 5 string . I had a 5 string Schecter which was great , but the band I was in at the time hated it plus I wasn’t confident using it live at the time. There is a nice red 5 string corvette for sale on Basschat , but seller is too far away …

I've not got quite as many miles on the clock with my Monaco as @Pirellithecat but I dropped @stevie an email following my first full rehearsal with it and I'll post that below. You can read my previous posts on this thread for context but what you can't see is the journey. I picked up a BC112 recently as a stop gap and I also used a Mesa Walkabout (without the amp in it) while I was waiting for the Monaco. Stevie exceeded expectations with lead time estimates and must be commended for that. The BC112 (I won't go into the history but I'm sure most of you are familiar with it) was a huge step in the right direction and I spent a lot of time A/B/C testing it against other cabs. I've now got the Monaco and have done one full band rehearsal and have two gigs over the coming week or so. Based on just noodling at home and the rehearsal with a Class D GK (not my main gigging amp but close enough) I sent Stevie an email on Monday. It goes like this... Hi Stevie I used the Monaco at a full rehearsal on Monday evening. I used my backup gigging amp, the GK MB Fusion 500 Class D and that's near enough in sound to my #1, the Fusion 550 analogue beastie, for comparison. The difference was night and day compared to the now-departed TWO10. There's an extra dimension there now. Xxxx, the guitarist commented that he could hear all the sparkle and grit of the Spector [Euro 4 with EMGs and LHZ-03] as well as much tighter low punch. Xxxx, who is a pro drummer and runs the studio sat through a few songs and got very interested, asking if I was playing through a PA top! "What is it!?". She also said that if she could hear bass like that at the jam nights she runs, life would be so much easier. They use an old Peavey Nitro 410. Some changes were needed, as expected with the amp. I tweaked my Treble and High-Mids back from 1-2 o'clock to flat. It's like I'm not forcing the amp to compensate for the tonal limitations of a "coloured" cab and lack of high end definition anymore. One thing that I had to tweak quite a bit was my chorus. I've got an Aguilar Chorusaurus (analogue) pedal, which needed some reigning in. It's like it's come alive now whereas before it seemed like quite a subtle pedal [at the settings I was using]. I use chorus on about 10-12 songs out of 24 currently and with the Monaco has made that much more transparent to the point where I'm dialing it back. I found that I came right back on the Intensity (like an HP/LP filter setting) and the ratio (wet/dry blend) knob. It makes sense inasmuch as it was always there but now the Monaco has the capability to make those higher "chorused" frequencies heard whereas they were just lost before. It'll be doing its maiden gig on Saturday at a venue that has a low ceiling and is acoustically challenging so, it'll be a good test. All good so far. Actually, beyond what I thought possible. My advice to anyone buying one would be to make sure you set up your signal path for it first before gigging, it's such a radical change that most people's settings will need some revision. Although, that's coming from a tweeterless TWO10 user, so it's a big shift in spec/tech/design. Hopefully, there are some useful nuggets here that might help others. I'll give you some more feedback after Saturday's gig. All the best Sean I intend to do an update after the bank holiday weekend by which time I'll have gigged it twice in very different venues.

I see that Khruangbin are playing tonight, I would have liked to see them I like some of their music, unfortunately I’m not around, is anyone lucky enough to be going

Oh I'm sure it will

Did exactly that a few weeks ago, much puzzled searching for the lack of sound. result, the same, receiver has red insulation tape around it. When I was looking at new wireless the other day, I noticed that the fender telepath one has different coloured rx and tx, made me wonder why that wasn't a thing!

Everything about the JBird is big tbh.... thick body, big size.... and I think a huge slab of maple for the body.

I always thought it strange that the Moog original didn't include a downward/reverse option on the envelope follower, and the Behringer looks like it repeats that. What's the point if you can't get that "bowwwp!" sound? I don't think I ever use my envelope filter in the normal upwards setting, the quack irritates me quickly. This might just be my personal weird preoccupation...

Our horn players are fully integrated into the band. When not playing, the bone player does BVs (and occasionally sings lead), and the sax player dances. I feel like I need to point out that I'm talking about The Inevitable Teaspoons, which is an originals band. We have no guitars, it's all keyboard driven, horn laden nonsense that we play so there isn't a lot of downtime for the horn players. We've only had one bone player and two sax players (the original one quit on medical grounds). I have a sneaky suspicion that the mercenary horn players alluded to above are the preserve of the covers band world?

In my teenage days playing at a Student Union where I'd just got a fancy wireless kit. Got carried away and decided to jump off the stage. Wireless receiver drops out of bass, hits the floor and battery goes flying....

Go half way to a gig in Coventry (from Nottingham) when I suddenly released that I hadn't packed the case which amongst other things held the floppy disk for the MIDI files for our backing. We could have managed without the other stuff in the case, but without the MIDI files we had no synths, samples, or patch changes for the effects. We had to turn round and go back for it. Luckily the headlining band had taken so long to soundcheck we still managed to arrive before we needed to set up. After that I took two back-up disks in other cases that were less easy to forget. In my synth-pop band days in the 80s I was using a Korg MS20 semi-modular synth live. Each song had long intros that allowed me to patch the next sound. Even with cheat sheets, I would invariably get one lead in the wrong place at some point in the set which if I was lucky would result in silence when I started playing or if I was unlucky something loud and atonal while I frantically tried to work out which patch lead was in the wrong place. More recently two problems with my Helix and wireless set up. Luckily they occurred in rehearsals rather than at a gig so have the advantage that I now know to check for both. Firstly plugged the receiver into the Aux in instead of Guitar in. Proceeded to tune up and then couldn't work out why the sound wasn't being sent to the PA. That's when I discovered that the default settings allowed the tuner to be active on all inputs irrespective of whether they were connected to the output or not. The second one was when I got the transmitter and receiver the wrong way around and again had no sound. Receiver has now got some brightly coloured tape on it so I don't make that mistake again.

I’ve occasionally played with a brass section and it’s way cool. But as mentioned above many seem to be ‘different to us’. Ones I’ve played with ‘read’ so it has to go ‘exactly like that’. No ‘going round the chorus again’ (generally). And quite a lot of eye rolling and tutting with the way I play 😂.