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That's a*rse about face. Come up with a set list, learn it at home and play it all at the rehearsal. Then everything has been dealt with and nothing needs "revisiting".

My last gig with The Spacewasters was early Sept, we have one this Sunday and had a rehearsal on Saturday to run through the set a couple of times. More than anything it was for the 2 guitarists who in the downtime have got together and worked out "this solo is best for you/this is what I should do for rhythm underneath" sort of stuff, they got to put it into practice on Sat and the work they`ve done really went well.

ETS will do one. It’ll be around EUR300. These are what Brooks Bass uses. Also, the nut width on the Dean Rhapsody 12 I had was 54mm and that was a challenge for my medium (Size 9) hands. That 7 string at 62mm would be something else. The Hamer I have is 48mm and is very comfortable, it’s just 2mm up from my Spector Euro5. https://ets-hardware.com/index.php/de/

Bloody excellent idea. Thanks mate. Literally exactly what I did at that gig before using the LWA500 as a backup.

The 3D printed headless bass was my highlight of the recent SW Bash. I'd love to have another noodle on it.

On the plus side, at least they still know where it is, so you doing better than some

When the D140F was introduced front mounting was rarely use, so they didn't come with a gasket. IMO that driver pre-dates the cab, so it probably wasn't a factory installation. The fact that it was reconed adds to that opinion. In any event yes, you should clean it up and use a new gasket or 2mm neoprene gasket tape.

So I have done this a few ways , Particular favourite use case has been using drum tracks off a phone Songster for solo'd drum tracks when our drummer has been unable to rehearse . Option 1 keep it cheap and simple a USB C to headphone adapter and your old reliable jack to twin phonos total cost of about 7 quid. https://www.amazon.co.uk/UGREEN-Headphone-Adapter-Earphone-Compatible-Black/dp/B082WG5VTK/ref=sr_1_15?dib=eyJ2IjoiMSJ9.qHljXIpcHjfJhbKoIYRDdWn5qtaqogttwSuloKjjG__r_oeUx_LoSuBWV6Vvek4HdNcJI7s888-uYAt5XYLCB2XNrbd9SgTfb4KIg2npeGbgxS4jgdr1R1QKHJjUoRL8bf9_zNK9-GcVIY5Xo7JifD5Dy9KjE1rFdq3BZ8D45ml0vPbU-kMxHYoMGCJecYWnsWQm_4D26rQHoEnP2jI9UE7rbL9WtQpjMGQrIrRL35U.ZpF_Ldt-h8I8jg5b7LlfE5wWfaom_byQgl_xdiJ4fzY&dib_tag=se&keywords=usb+to+jack+adapter&qid=1761564453&sr=8-15 Option 2 a Bluetooth bridge of some kind there's various types available but i've got these https://www.amazon.co.uk/Alto-Professional-Bluetooth-Total-Rechargeable/dp/B091Z2523R/ref=sr_1_3?crid=1XS40CCHU8HK7&dib=eyJ2IjoiMSJ9.GOlOFaNMcE3_WNte8chypd-oXwZppcFoB402NMB3m3N6FpzYxcBMDQvJi9XwgoT5yRJWnmh3bD6EBhVg_u6867JqIehTPmZQotYjrfN69GXFQ3FbJGl8LUqaobw4TNmXDBFxu4EtqlOKgn7y71dNgSflhAWKiNa_CLgpKTOQFnzE4qQEl6OHzvyAGDlYX011vkI9amjXgWWGrIXqFHdxq689WWsm0IRP8azHZJiXxtXCjUP1q8jCirhXBnkBgXRxLFxWPrQCh8gSmd6IAyG_LiiHutz7KznthukoWocmYU4.LwyI3Z4wCZM75yKxZEuZXvnJijzDys90xHoFWZzDMiE&dib_tag=se&keywords=bluetooth%2Bto%2Bxlr&qid=1761564581&sprefix=bluetooth%2Bto%2Bxlr%2Caps%2C110&sr=8-3&ufe=app_do%3Aamzn1.fos.7bbc1e72-d5e0-4378-81de-b15e5f172cd1&th=1

This was very common with Fenders, especially from the 70s that were not thought to 'vintage' until relatively recently! I've got my 78 P bass on a stand next to me right now. These days it has a Badass bridge, a different p/up, new pots and (I think) a new nut. It's also had a re-fret and the back of the neck now has a satin finish. The only original things left are the wood, the scratchplate and the tuners, which still work great. It looks, sounds and feels like a 70s Fender, just it's had a few tweaks over the years to ensure that it plays and sounds how it should!

We have a gig 15th November. Last time we played together was at last gig on 7th June. We have a rehearsal tonight. No idea what we will do. Hopefully run through the first set and make notes of what might need revisting before the gig.

I wonder if this was more about the Octabvre Mini than the OC5? That said, I consider the OC5 to be as immediate as an OC2, and I'm not sure how the Octabvre could be more immediate than immediate? Maybe you had a dodgy OC5? Maybe something about that pedal is that they are not all related equal and there is some kind of odd latency that some have and others don't? Maybe it's not latency and the Octabvre has a sharper attack than the OC2/OC5 that makes the OC's smoother attack 'feel' latent? I don't know enough about electronics to really comment, nor have I used the Mini (I played an original Octabvre, but it was ages ago and I don't recall much more than the fact is sounded like an OC2), but I think it's worth another go, especially if you have access to an OC2 to compare with. If you ever find yourself near Derby, you are more than welcome to come and do the blind test here!

My guitarist friend who took part in this 'experiment' uses an OC5 for guitar, exclusively in poly mode, and loves it. I don't play guitar, and so my comments are exclusively about bass. It certainly sounds good in the way he uses it on the inferior stringed instrument I used to own two MIJ versions (Octaver and Octave), that I used for years, long before the OC5 came out. I also had one of them (Octave) modded by Max at sfx to increase the gain (not in the same way as my current one) as the drop in volume did my head in, but I can't vouch for it in the context of comparison with the OC5 (but can vs the other OC2, see below). That said, I'd be mightily surprised if there was enough or a difference that anyone could notice in a mix/not under a microscope. It makes sense that the MIJ ones fetch more, as they are an older version of a sought after pedal and 'originals' in most walks of life seem to hold greater value. Anyone paying more for a MIJ because it's 'better' in any way that can be measured is almost certainly mistaken As I mentioned above, I used to own an Octave and Octaver MIJ and only ever compared them to each other (and an OC3, but let's not go there!). I couldn't hear any difference back then in the rehearsal room or live (though I never did the kind of analysis I did here) - if there was a tonal difference, it was minor and only something you'd hear in a recording or if you really wanted to. The Octaver was fetching more money as it was the OG so I sold that and kept (and modded) the other. That was sold on years ago before I recently picked up this MIT. I agree totally with your closing statement. The OC2 sound has serious mojo, and using it because it sounds great is a no brainer... but only in the same was as using an OC5. If you don't own either, unless you're a collector, there is zero reason to own an OC2 over an OC5 IMO.

Yup. By easy, I don't mean Amazon Prime delivery, but if you search you'll find.

They’ve had a strat body of mine for a week, it’s been up and down the country twice and is now going back to the seller - apparently 🙄

That is super helpful thank you. Singer started out with the Gear4Music SubZero UHF Wireless XLR (863–865 MHz Ch. 70) - so we will take that off the list! I had already suggested going for 5.8Ghz and avoiding 2.4 GHz. Just as a rule of thumb it would be great to get a wireless bolt-on that comes to no more than 2/3 the price she is investing in the microphone itself, in terms of the incremental benefit of the wireless vs wired to her performance on stage, so that would suggest a budget of around £100. Currently the JOYO 5.8 GHz looks like a decent contender that seems to tick quite a few boxes? If anyone has experience of this or similar, please do share.

Yeah, did initially look at a Btb 806, but seems very difficult to get any clear sound examples which aren't heavily processed. The ones I have heard didn't sound as good to me as the Sire. But this is going by you tube videos though, so hardly scientific. Would you recommend them then?

John Taylor Paul Denman Mick Karn

I`ve put a sticker on mine that reads "if no sound check headphone switch on the back" as have been brought to a state of major panic at gigs when my RM has appeared to not be working due to this.

Hey Dan - don't be so quick to put down Chinese manufacturing! You do realise that the incredibly good value Behringer Bugera Veyron amps, which you and I both think are fab, are made in China? As well as, of course, some of the world's highest-end products such Apple iPhones?! They have just figured out how to do manufacturing really well. Apple have basically said they won't shift production back to the US because of the lack of skills there and fact that to make something of the same quality it would turn a $1k iphone into a $3k handset for the exact same product. They're very happy to pay the Chinese workforce less and keep the bulk of the profits for themselves in, err well actually, Ireland where they pay little or no tax... Shure IEMs are widely regarded as overpriced (just head over to the IEM thread) and you'll find a LOT of BC'ers, including me, loving their KZ IEMs as being both better kit and considerably better value... and they're also made in China. And don't get me started on battery technology...

I’ve had my ‘72 jazz since ‘82 and played it continuously since in some very smokey stinky dives. The natural finish and maple neck have consequently aged well. Other bits have not, and the original pickups went in the bin years ago. The wiring and pots followed not long after, before vintage collectable was ever a thing. Aftermarket pickguard replaced the cracked original, and hides very rough routing where some monkey tried installing a P pickup, before I bought it. Not sure where I threw that. Probably the same place the original plastic nut went. However I do still have the original tuners and bridge saddles in a box, replaced by ones that actually work. As do the Fender vintage 70’s pickups installed a few years ago. Plays and sounds nice but realistically it’s a Frankenstein.

Interesting that given he both tuned up to F# and used quite light strings his sound had such a good low-end.