JohnDaBass

+1 From the proceeds from the sale invest in a Celestion 10 speaker, either the ceramic one used in the BC110 or a lightweight BN-300X (8 or 4 Ohm)

WOW, that is going to have some deep and meaningful Attitude 😮

That would have been a knock out bass🤪

Planning to attend this year. Gear Fender Imp combo, Fender Mike Kerr Jaguar, Fender Stu Hamm Urge 1, HB ThunderStang, Squier Paranormal Rascal, Mark Bass Bronco ( very yellow), Ashdown Capri ( very Pink) PS I will leave it to Admin/ @scrumpymike / @Rich to add me to the list🤪

Totally agree the off-set body is really comfortable with a great balance Mine is neck thro short scale with an Artec Mudbucker and G&L bridge Pup.

Finally sorted. Bought a 98 mm one from the source suggested by @ratman. Purchased the large one because having no experience of how rigid they were I thought that a slightly over size would provide a nice snug fit. When it arrived I was impressed how stiff it was and sadly didn't fit properly. Bought a second from the same supplier at 96 mm for a sound hole of 95 mm. Problem solved! Nice snug fit and seems to do the trick by preventing the feedback. I have also created a new patch on the Zoom B1FOUR with HPF at 50 hz. Happy Days. Thanks everyone for your advice.

As I don't use an Octaver in any of my patches I have the HPF at the start of my patch chain. I only use 8 patches for the covers bands I'm in. 6 are for specific song types made up of compressor, drive and amp SIM. The 2 other patches are just "Always on" HPF one at 30hz and one at 40hz. To get as close as possible to emulate a Thumpinator I use 2 HPFs in series in each of the patch chains as I understand a single B1FOUR HPF has a 12db per octave slope , so by using 2 HPF in series the result is a 24db per octave slope. Seems to work for my needs by tightening up the low end. I know some of the amps I use (Fender Rumble 800 combo, Fender Rumble 800 HD + BF Super Compact, Mesa D800 Subway+ BF Super Compact, Peavey Mini max 500 + BC110) have some form of HPF built into their circuit designs but using an always on HPF before the amp simply provides a "belt & braces" approach to tighten up the low end. Having a 40hz & 30hz HPF patch makes it simple to toggle between the two to compensate for room and stage issues. It's probably worthwhile taking a look at the Zoom B1FOUR patches thread that @Al Krow started to see some of the ways players configure their B1FOURs.

I have used the HPF on the B 1 Four for many years. One patch set at 40hz and a second set at 30hz. All my patches included a HPF.

@ratman could you share which sound hole plug you use or recommend?

Buy a second P bass, Simples😁

Or a warehouse full of returns, which maybe bargain priced. Let's wait and see.

In February I ordered a Fender Kingman 2 SS bass from Bax Music. Paid through PayPal,bass arrived safely and very pleased with the bass and the purchase & delivery process. However, the website showed an extra season discount which had not been applied to the final price. After an email exchange Bax promised to issue the refund once the 30 day returns period had ended. No sight of the refund until today when I received an email offering a credit note to the value of the refund. There was a long explanation about the bankruptcy and how the new company could not refund cash but could honour their obligation with a credit note. So all good really.

Played a small garden BBQ and later a cafe gig (40ish) yesterday with my newly acquired Fender Kingman 2 SS bass. Bass >Zoom B1FOUR (HPF@30hz)>Bam 200 combo 6ins speaker. BBQ gig was fine but I suffered with significant acoustic feedback in the cafe. Adjusted the Notch filter and the phase switch on the Fender badged Fishman pre but couldn't tame the feedback. Do sound hole plugs really work? Anyone with any solutions?

Great that all was well. @Phil Starr and @Bill Fitzmaurice provide great advice, if you own more than one cab take as many as you can transport and just plug up the cabs as necessary. Having too much power is easy to remedy by using the amps volume control. Having insufficient power is more troublesome. DI into a good FOH is always a good solution.

Here's my view. @Pea Turgh '69 EB3, '72 Fender Telecaster bass, Fender Mike Kerr Jaguar, Squier Rascal, 2017 Gibson SG, Epiphone Newport with Artec Pup But it's important to take into account not only the pickup postion in relation to the 12th fret but also the tone cap value used. Notes 1 Neck Pup only on all the above 2 The '69 EB3 is neck Pup only without the inductor engaged ( engaging the inductor opens the bowels of Hell in the Lows) 3 '72 Telecaster is all original stock Pup and pots. 4 The Mike Kerr SS Jaguar Pup at 10ins from 12th fret 5 Squire Rascal SS neck Pup at 8ins from 12th fret 6 2017 SG is NOT a mudbucker, it is not a sidewinder design it is a standard side-by-side humbucker design. 7 The Mike Dirnt has an all original '72 Telecaster bass Pup expensively sourced from a guy in USA added at the neck with 3 pos switch to engage the '69 P Pup 8 The Newport re-issue bass had the Epiphone ceramic Sidewinder Pup swopped out for an Artec Mudbucker These are my views only, of the basses I own, just to add some context to your question to compare Pups. This Squier Telecaster Bass looks the real deal and if it has the same Pup as the Rascal it should sound amazing for the price point. I hope Fender release a Squier version of the Mike Kerr signature in black with a maple neck and tort pickguard, as I will be first in line to buy!!

Me too, my early USA Fender Stu Hamm signature "Urge" 32ins scale bass had pau ferro fret board, great finish, very closed grain, absolutely fine.

The USA EB MM Sterling is very comfortable, fast neck. The maple neck maple fret board are probably the best. The pickup has a huge tone range. There's a couple for sale at Bass Gallery and a lovely maple neck ash body at Bass Bros.

Do both Monza cabs have a 1.7kHz crossover?