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I used a ported Yamaha 15 for years , it was a great sounding cab. But it got heavy , and I moved to more modern cabs. I think 12’s are the new 15’s.

I replied to James' wanted advert for a Zoom B1-4. The resulting sale was smooth, quick and stress-free. I'd be happy to buy from/sell to James again. David

I thoughly enjoyed the set. Songs were great, really tight band.

Thanks for coming Rob! The sound on stage was pretty good too. For anyone interested, I ran my P bass into a GK Legacy 800, through an Elf 2x8. The GK DI ran to FOH and back at me a little bit in the monitors.

Yes! Very sharp observation, Paul👍 Really, I didn’t think about it, they can take a bit more money by thinning 3 strings one nod!

She’s got an ego , but heck , she’s Carol Kaye.

Thanks for Your response! Ok, but I have noticed that it is problematic to mix different brands. Like the EB cobalt flats I mentioned have much higher volume output than for example rotosound monel jazz flats.

Yeah, shoved some skinny rounds on it as I hate roto flats.

Wow. A handsome brute indeed.

Reasons to use a 15” bass cab these days are rather rare. Possibly ok if You play in a pub with unmiked drums, couple of unmiked guitars and a vocals amplified trough couple of small speakers on a pole. Add decent small subs to this setup and a 15” isn`t necessary in a pub. In a club-sized venue there’s usually bigger P.A. (making Your 15” or even 8x10 unnecessary) and a pro sound engineer for FOH mixing and if You are lucky another for monitors. In most of the cases they make Your band sound better to the (paying) audience quieter Your stage volume is. If You get booked to some artist`s tour You must discuss these things with the artist and her/his soundcrew. To my experience You can manage most gigs with rather modest setup. Of course it must be decent quality gear. Best solution for great sound for the audience is in-ears for the whole band. I know all of us can’t get used to it (including me). So mostly I use my 12” MB wedge, even raised closer to my ears. Can`t complain, very ok for me.

That's what I'm trying to figure out, I think. The stray wire isn't from a volume pot, as there's a second wire seems to be still connected and eventually runs to the jack, but not the hot pole. I think the tone pot is wired up a bit differently to a Jazz, but without seeing another B2 I'm not 100% sure what goes where. There are a lot of connections to the tone pot which all seem to join to one of the lugs via a big bit of solder on the top of the tone pot where various wires meet. So I'm wondering if the stray wire got broken off from there.

46 and 2 - Tool

That's much better. Yes, the posthumous hit hardly sounds like a reggae track. Thanks Tony 👍

Following too.

Haha, yes, that’s a good point. Probably under £300 - so more than likely something used to get the best bang for my buck.

If 6 Was 9 - Hendrix

I reckon it’s to make the B string seem bassier than it is - take some of the ‘boom’ out of the next lowest strings so that the B sounds half decent by comparison… 😄

Very nice work @BigRedX, actually does take me straight back to 1984 👍

Def, I don’t think my Mustang/Behringer BDI21 that I use in venues with big in house systems would have been any good in my old punk covers band PA - a vocal PA with two 1x12 speakers- especially if said PA had the guitars and drums in it as well. I’d venture it might well have conceded defeat.

Thanks for all the kind comments. The original mix is actually a re-purposed version of something I wrote back in 1984 for the synth-pop band I was in at the time.

Urgh. I'm a total convert and I kind of agree but like, dude, I almost want to disagree on principle. Richard Dawkins. He's right. But he's an ass.