jrixn1

Same bass - https://www.ebay.co.uk/itm/266445257157, different (better) description: "This is not an original stingray, beautiful action and sounds amazing but NOT an original"

It's a good point although in this case a reference of a GK MB115-II was given. I owned a GK MB210 in the past and it is pretty good and will go quite loud for its size - but a MINI CMD 121P or 102P go very loud for their size. So @salaourtxe I reckon that unless you were always running your friend's GK MB115 on full blast, the MINI CMD 121P is the one to go for. It is also of course the easiest to move around, as it's the lightest and narrowest - which was your primary criteria as I read it ("I want an amp that I can move around easily and that sounds good").

What's your scenario? Small-group jazz, concert hall, listening audience - I wouldn't be happy doing it. Large, loud function band in a wedding marquee - you'll be fine. If of interest, I have some comparison audio here from a few years ago, as we recorded both the rehearsal (P bass, flats, foam) and the gig (upright, piezo direct): out.mp3

The cab rating is more of an approximate guide than a strict guarantee that everything will be ok. You would be fine with a cab rated at 200W, if you play at a lower volume - or you could damage a cab rated at 700W, if you maxed out the EQ and played very aggressively etc. If you do want specific cab recommendations, indicating your budget, musical genre/band line-up, and venue type/size will help get the best suggestions.

You might not save much percentage-wise on the overall weight of the bass, but due to the leverage effect of the tuners being right at the end of the neck, it will alter the balance and probably make the bass more comfortable to wear. If you replace the original tuners (let's say 100g each) with some lighter ones (let's say 60g each), that would be 160g saved in total over the four tuners. You can trial the change in weight and balance before buying anything by removing one (100g) or two (200g) of the current tuners. 160g is of course about in the middle. Remember these numbers are just an example - use the actual weight of the tuners concerned in your case.

I was about 75% on my HD 10-A; when I moved to 732-A I was on no more than 25%. The K10 has a HPF option (around 100Hz I think) if you turn the dial to 'ext sub'. This could make a difference.

I've bounced back and forth between 10" and 12" over the last few years. The 10" I had were RCF HD 10-A (similar to your 310-A) and Yamaha DXR10. Our band have some QSC K10 so I've used those a bit too. For 12", I've owned RCF 732-A, FBT ProMaxx 112A, and QSC CP12. For me the 10" were great most of the time but on some occasions at louder gigs they were starting to limit or otherwise not perform effortlessly, particularly in the lower frequencies. It was never really awful, but I did notice it and think that it would be nicer to have a better stage sound. The RCF 732-A and FBT ProMaxx 112A are definitely a step up in quality. I didn't have to run them hard at all, so they sound better. The 732-A was the best stage sound I've ever had; but I appreciated the ProMaxx 112A's lower weight (14.8kg vs 17.8kg). However, running either of them at a very low level felt like overkill, with so much in reserve but still transporting them to gigs just to have them barely ticking over. They are also physically larger of course and with 10+ of us in the band the stage is already always cramped. The QSC CP12 is interesting and has hit a sweet spot for me, as it's the size and weight of a 10" enclosure but they've put a 12" driver inside. Ultimately it won't go as loud as the 732-A or ProMaxx 112A, but as mentioned above that isn't a problem for me. FWIW I've been meaning to list my FBT ProMaxx 112A for sale - you're welcome to trial for a few weeks if interested (with a view to buying it - but just send it back if it's not a match).

Behringer UMC204HD. Plugged it in and it worked - didn't have to do anything.

The reason that reading about watts is a bit confusing is because watts don't correlate exactly with output volume; it depends on so many factors which can't be distilled down to that one metric. It's like asking if a 2L car is faster than a 1.6L. The safe bet is the Rumble 500 which is in the sweetspot of being generally highly recommended, definitely loud enough, not too heavy, and good sounding. Another combo in this category but not on your shortlist is the Markbass CMD 121P. Some people do gig with the smaller Rumble 100 - it's impossible to know until you try it with your particular bands and venues though if it will be loud enough.

@Bobb You already have a variable HPF and plenty of EQ options - I would do a few gigs with that gear first and see how you get on. No need to buy more gear preemptively. Good clip here of John Patitucci talking through how he sets up his amp: https://youtu.be/sNQclaAmyX8?t=85 What style of music is it (which requires grind and drive)?

This one? Can return if doesn't fit. https://www.armstrongmusic.co.uk/pickguards-c62/fender-basses-c111/precision-bass-50s-road-worn-series-c311/armstrong-music-fender-road-worn-series-50s-p-bass-b-w-b-p9947

It's very hard to find tort which actually looks vintage. I have in the past used and recommended Jack/Tiny Tone. E.g. I had this made up for a Yamaha BB (where you must go custom, as they are not sold off-the-shelf): That was £54 a few years ago. Last month, I got a quote for a tort precision pickguard: £77 + the cost of me sending him my existing pickguard as a template. One guy had quite a bad experience: https://www.basschat.co.uk/topic/465816-p-bass-pickguards-uk/ . His was not a nice piece of tort - and he couldn't send it back for a refund like most internet shopping, because it's a custom-made item. I guess whether you get a nice piece or not is just luck of the draw. So for me even though I've used Jack before, I'm still undecided even after many weeks about pulling the trigger. You're paying for a premium service when you commission a custom-cut, which is fair enough - but is it worth it for a precision or jazz bass which is such a standard item? Someone like earlpilanz or a number of other eBay or online stores can sell you one for £10-£15 - and it's possibly even the same source of tort. And you can return it if you don't like it. I have an unused printed tort for a jazz bass - I don't think it looks that vintage but send me a private message if you want it (for free):

I've enlarged a bridge hole with a file.

What I do is play the C on the E string. Then it's two medium jumps instead of one large one.

Which mini cmd was it - they make a 1x10", a 1x12", and a 1x15"? No doubt the GS 212 will sound great but having lugged wide, 30+kg cabs around in the past, it gets heavy very quickly and you will never quite fit through doorways - so it's a bit of a pain overall. Two 1x12" cabinets would work a lot better. If your budget is I guess around £600(?) then how about these which just appeared in the marketplace: https://www.basschat.co.uk/topic/483291-mark-bass-cmd-121h-traveller-121h/ (no affiliation with seller)?

If you are currently or previously a professional musician etc (there is an eligibility list - I don't know how/if they check...), you can get ACS Pro Series for £50: https://www.helpmusicians.org.uk/get-support/physical-health/protect-your-hearing

See also this thread: https://www.basschat.co.uk/topic/480235-big-problem-with-thomann-returns/ It takes a while, which is annoying - but I think everyone does get refunded in the end. My recent return took 20 days from being dropped off at the corner shop to me being refunded - so that would be 24th Sept for you. The DHL tracking seems to be not very accurate, and presumably Thomann don't have any more information than what the DHL tracking tells them. So it's a case of waiting it out. Still, not a good end-to-end experience for the customer.

They serve different purposes. forScore is for displaying pdfs and making set lists. iReal Pro has all your jazz standards, and can transpose them. Btw Piascore is a free alternative to forScore. I have both and prefer Piascore.