Dan Dare

Through neck? And some quite decent woodwork and finishing from the look of it. Far too well built for my taste.

Mine too.

Leave the bridge ground wire in situ' and just add a ground wire to connect the shielding to one of the pot bodies. You only need to put tape over the underside of the p/g where it covers the body cavities.

Which is what most of us said, but he wouldn't have it.

14x10? Are you the bass player with Hotblack Desiato?

Yep. More fun for us.

If the existing one fits OK, Jack's Instrument Services (Google them) in Manchester will make you one using it as a template. Not cheap, but good quality and swift service.

You took the words out of my mouth, Tubster. My meter broke...

I just give mine a clip round the ear if it misbehaves.

They are rare. They were horrible and few people bought them, so there are virtually none about.

Phono sockets? Must be pro kit... I love that headstock, too. So elegant in its simplicity.

Quantity discounts, too. What more could you want?

The ears and the tail, sir. The world's gone to hell in a handcart. The only way is not to buy any of it.

There's a world of difference between achieving tone in a studio and doing so in a live setting. No offence to the OP, but you need a considerably more sophisticated rig than a Rumble 500 to do it at any sort of volume and even then it will be masked/affected by what else is happening when you play in a live band. You don't even hear the true onstage sound in live recordings such as those above - the multitrack will have been re-eq'd/tweaked before release/screening. T-Bay's comment above is very true - what sounds great soloed doesn't necessarily work in a band context. Trying for that holy grail tone is a hiding to nothing, I'm afraid. It always amuses me, for example, that people revere the Ampeg B15 "because Jamerson used one". He may have, but only as a monitor so the studio band could hear the bass. That lovely recorded tone of his was created via a custom built preamp running straight into the board (see various YouTube vid's on the topic).

We can only offer suggestions. It's up to you whether you accept them. The problem is that you don't have a sufficient level of understanding to appreciate good advice, such as that above from Richard. It's just going straight over your head. Perhaps you hope that if you keep asking, a different, possibly easier to understand, response that is more to your liking will materialise. Once again, you need either to get someone who knows what they are talking about to go through it with you. This is not difficult , despite your comment above, provided of course you are happy to pay someone for their time (perhaps that is the sticking point for you). Either that or read up on the topic. There are a plenty of books/online tutorials that will help - you'll have to do your own research about those, but Google is your first port of call. I fear we are wasting our time here. Did (perhaps this may be a possible answer to Richard's question above) those on the singing forum to which you refer lose patience with you?

I reckon it is, too. It's still cheaper than getting two additional C4s.

Google? Trading will not realise the best value for your instruments. Best to sell them privately imho.

Didn't know that. If your BG400 will drive an additional C8, should sound ace.

Good advice, but DON'T give it the heat gun treatment with the grille attached to the cab or you'll cook the drive unit cone.

Bob. Please listen to what a number of us have said and get someone who knows what they are doing to talk/walk you through this in person. Richard's advice above is excellent, but - and I am not attempting to offend or insult you - it's obvious that you are a complete novice and that you cannot understand what he or any of us are saying (you state above that you find our advice confusing. The "whistling" sound you refer to is feedback, btw). It's pointless our attempting to explain things when you lack the knowledge to understand the terms we are using. The only way is to get someone who knows what they are doing to show you how and explain/answer your questions in person.

Welcome to the PJB club. In my experience, once you tried it, it's hard to like the tone of anything else. Re. your questions, the C8 cab is 4ohms. It obviously packs more of a punch than a C4, but check the BG400 can run an ext cab with that impedance. I've an idea it might be 8 minimum, which limits you to a C4. Two C4s (the BG is effectively a C4 with built in amp) is pretty pokey, within reason. Whether they will do the job for you depends how much of an animal your drummer is. I have 3 C4s, but my head will run into 2 ohms. PJB cabs are quite inefficient - they take some driving to give of their best - so even if your BG400 can run a 4ohm ext cab, you may need more power to drive a C8 properly. The PJB Piranha drivers have ceramic magnets, the Neos have neodymium and are lighter. I find the Piranhas have a bit more oomph, but are not quite as smooth/sweet as the Neos.

In the late 70s, I had a Bassman 135 and 2x15 (with Peavey replacement drivers). Fab rig, but large and weighty. Needed a Volvo estate to get it around.

No suggestions for the hand, apart from rest (as the doctor said to the chap who said "It hurts when I do X", don't do X). You shouldn't need to play aggressively to get that mwah sound. If you do, you need to lower the action (the mwah is actually caused by the string vibrating slightly against the board on a fretless). You will most likely need to do it at the nut, as well as or rather than at the bridge end. It's a bit of a fine judgement as to how much to file the nut and it's easy to overdo it, so take it to a good repair/setup man (or woman) if in doubt.

They are rather good, aren't they? As long as you leave the awful octaver alone, they do old skool wonderfully. Norman uses them, after all so they must be all right.

I'd be surprised if Victoria B can even spell irony...