paul_c2

I'm not sure what kind of outcome you are expecting - there aren't that many controls and you've tried it thoroughly, you've not missed anything obvious or non-obvious. If you'd bought it within 2 weeks online, you could have gone for a refund with DSR

Yeah this happens with the combined line/mic level inputs, where they don't have a line/mic switch and rely on a wide-ranging gain control. I am guessing all your instruments are passive? No real way round it other than a different interface. Would be worth seeking one out with a mic/line switch and a hi-z switch. I am sure many mixers (with USB) could do the same thing; and the smaller ones would be quite affordable?

There's two (or three) aspects really. 1) Does the player themselves enjoy the interaction and the sound, in a controlled (ie you can hear yourself very well) practice environment? 2a) Does the bass, and whatever other equipment in the signal chain, produce a nice usable sound "in the mix" in a band/group situation? 2b) How do you achieve a usable sound, or what are the pitfalls or mistakes you or a sound engineer could make, to miss the opportunity to do so (assuming all the other equipment in the signal chain is capable).

So true. True too. I think the point worth making is that a Jazz bass can sound different, by altering the balance of the pickups. And of course there is the tone control; which is a bit more limited (which also means, a P bass has a more limited range of sounds. Then it comes down to "what is a Jazz bass"? If we're talking about fretless, active pickups, etc etc then of course they're going to make it sound distinctly different.

Nowadays I regularly use these pair: Japanese Fender Jazz (roundwound strings) Squier VM fretless Jazz (flatwound strings) Since I read a lot, its really handy to "know" the neck and where/what my left hand is doing, so it makes sense to have the same body size and shape. And, they sound markedly different, so a good contrast for different music/pieces. If needs be, I can play anything on either (Sir Duke on the fretless is a bit of a PITA though!) so for important gigs I take the pair, knowing that if one or other fails, has an electrical issue, breaks a string etc I can switch to the other as a backup.

We plan the setlist to run the time allocated, plus 3-4 reserves rehearsed (and sheet music in front of us) if we get asked to do more. If we were ever asked to play even more, we would repeat a song from the middle of the original setlist, hoping nobody would notice!

Fair enough! There's always two sides to a story after all. I can only relate to my own personal experience(s).

The specs say 1000W RMS, 2000W peak. (Of course, we all know PA wattage is like "dog years").

I will take alternate transport. (Might end up in the same place though, due to other things in my life....)

Okay, I get that they're humorous but I'd not be doing any of the things such as cancelling the day before, or messing up the gig, etc. I'd simply say my short farewell "good luck in the future", hand over the admin of the social media (WITHOUT vandalism of it...) and look forwards from that point on. No moral requirement to do the gig, no band should have a "make or break" gig, they can cancel it and carry on or whatever else the others want to do at the point they have no bassist. Put simply: in issues such as these, take the moral high ground. From the original post and the way they've treated you, this is a very simple/achievable thing. Good karma, and all that.

If you're genuinely at that stage, then perhaps you ought to have identified and resolved whatever issues there were; or left (amicably) much sooner? I'd not drag things on, if I'm not happy or doing it for the right reasons, I'd switch to doing something else.

Hmmmmmm, I'd choose my time to an important gig then do the gig but informally tell them just after; then definitely do the change ie don't go to any more rehearsals and make it clear you can't do the gigs etc. Sometimes its okay to use a "white lie" like "I'm too busy nowadays" and sometimes it might be better saying "Its not my thing any more". But its never worth burning your bridges and always leave on amicable terms, you never know when things turn around etc especially if the local area is tight-knit.

If your technique is correct, it will be a complete non-issue. If your technique is sloppy, then switching from one to another may reveal this!

AFAIK some files are "streamable", in that the browser/client never needs to take in and store the entire file. It is able to take it in chunks at a time, start playback, then take in more and more chunks as playback progresses. (It might or might not delete previous chunks of the file, depending on its internal storage - it may store the entire file in its internal cache if/when it reaches the end, too). Its certainly true when a "normal" web browser hosts an MP4 video file, I think its true for MP3 too; and probably lots of other types of media files.

She probably doesn't. Look at 1:15, clearly using a pick, probably a guitarist who's been asked to play the bass just for this.

Eventually the upload speed will kill the idea; then if that's overcome, people's download speed (even in the era of fibre broadband). You're probably okay with audio files, though. Once you're into video files it will be an issue though. Our band has a website, so if/when video files need to be shared, they are uploaded to a special area of the web server and a link provided to those to find/download them.

It depends if you feel its achievable (might be an amount of work to get there though), or whether there's actually some underlying issue where they are suggesting things you don't like/don't want to/can't play? I accept some people are influential in a band and others are happy to let them be.

The first song of our set is always something which is reasonably lively, yet easy to play. Partly because wind instruments need to actually physically warm up (and its not always possible to do this prior to the performance starting).

I've never been asked either, and I'm based in the UK. I think its because the OP (and a lot of the following posts too) assume a small-ish pub, probably with no raised stage area; there are other kinds of venues.

Up until very recently, our requirements were pretty much the same as above. We were covering larger venues (150-200+) and had a big band behind the singer (which will give a good indication of the volume achieved). You can combine the monitor + mixer in one, by choosing something like a Behringer B205. It has 3 inputs (2 XLR) so you can run 2 mics (singer and announcements if someone else does those). Then hook up a 12" active speaker. We used an Alto TX212 with no issues although you might choose a 15", or the TS312, or another brand. You don't say if mics are included in the £500 budget but even so, its got to be around £500 all in. The B205 can go on a mic stand (and has adapters to screw into the standard fittings), so we dedicated one for that purpose - a straight with a solid/heavy base. Below is a pic of it in use (the cable hanging off it is an XLR to a DI box near bass and guitarist, in case an amp goes funny etc.

Don't be the one to act first, let the buyer cancel it from their end. I can't remember the options that they have. Otherwise, choose one of the options like "the item is damaged and no longer available" before you mark it as sent and it will go through better.

I think the tuning is irrelevant, and I'd not be surprised if underneath the pickup covers were thin air. I think its a "mock up" thing made simply to shock. Its completely unplayable by a human with normal sized hands, for a start!

At £90 you could buy one, see what its like, then buy 5 more?

What kind of band, what personnel, what is the size of "tiny spaces" venues? I ummm'd and aaaaah'd for a long time looking at the TX208 (partly because of comments on this forum) but bought one last week and used it for a monitor at a gig at the weekend. It was brilliant - a really nice combination of sound quality, power and compactness (and price). Obviously, be aware of its limitations but I'd recommend one dependin on your actual circumstances as asked above.

I can't say I've ever come across that specific issue - logic suggests it would occur the other way round (lower the action, and dead spots occur). So I'll do the same as you, await others' replies!!! Hope you get it sorted though. Just one final thought....how old are the strings?