warwickhunt

Sadly I'd guess you are likely quoting just about the only exceptions to the rule. Car manufacturers and 'some' retailers can offer transferrable warranties but they are almost certainly mentioned in the small print/T&Cs. A quick search of consumer rights UK (and remember the OP is not in the UK, so post Brexit goodness knows how that pans out) inc .GOV shows that other than the original purchaser of an item, there isn't an automatic right to a warranty unless outlined in any receipt/paperwork; which I'm sure the OP will have cited if it was there. I'm going off gut feeling rather than absolute knowledge but I have never in 44 years of owning basses seen mention of transferrable warranties on instruments. You might get a small boutique builder who offers to remedy issues for an undefined time on an instrument but off the shelf names I have never known. That does lead us to the point many are wondering; what is the bass? It could be that the bass builder is a member of BC and/or is aware of the number of users and 'might' want to remedy this. If it turns out to be one of the big names then proving it is a manufacturing or design fault is going to be nigh impossible and most certainly expensive.

In short, as it was a private transaction, you have no warranty or recourse to the manufacturer or the seller. As has been suggested you could attempt to reach out to the manufacturer and ask for a goodwill gesture of maybe swapping you correct pups for the ones you have installed or possibly to sell you correct pups at a discount. However, they are under no obligation to do so, hence my approach (were I you) would be very cautious and conciliatory rather than demanding/accusatory.

There is/could be an argument that the sound you are creating is 'your' sound and it is what you want the audience to hear, they have no say in how it should be... good or bad. I suppose it's a bit like your Helix generated tone that is sculpted by you, to your exacting spec. The audience don't get to choose how that sounds, indeed you are reliant on the FOH for the final tone and I've seen many PA set ups that are a dog's dinner (hired in pub/club); we've all read that subs need to be placed 'x' distance apart or located next/on top of each other... yet I see more 15" mid/tops mounted on poles above 15" subs 20 feet apart. However, we digress back to another BC favourite! LOL

I think the argument is that mixing random speakers (by manufacturer or size/shape et al) can produce random/unanticipated outcomes. It isn't to say that it can't/won't be pleasing but there is an element of unpredictability in the resulting sound. If someone loves a particular sound and just wants more of it, then another identical cab will give the same resulting sound... just more of it. However, if you pair an alternative cab that wasn't initially designed to be paired (full range cabs rarely IF EVER are, even when we were throwing 4x10s on top of 1x15s), you could get results that aren't as pleasing. It should also be stressed that not all 5/6/8/10/12/15/18 inch drivers produce the same sound/tone. Speaking of real world experience not science, I've owned enough cabs and played through more, to know that when someone says that a 10/12/15 is their thing, what they are voicing is that they like the sound of that speaker (irrespective of diameter) in that size/ported cab and many similar cabs sound... similar. What you tend to find is that many 1x15 cabs actually have more internal volume/space. I'd surmise that cab builders make them standard width/height/depth and the speaker has more air, whereas 4x10" drivers crammed in the same box hasn't sufficient volume. Look at the 1x15" TE cab in Alex's video, it is massive and nobody these days is making that size cab. Also a 2x10 cab will almost certainly be built 'down' to a size as opposed to using the same volume as a 1x15. I did a recording of multiple cabs in a real world situation (mic placed a set distance from cabs etc) and nobody could correctly identify the 2x10, 1x12, 2x12 or 1x15 cabs. In fact the 1x15 in question was missed by everyone who had a guess and ALL said it was a 2x10 cab (experiment on BC somewhere). Saying all of that, if you put 2 (or more) cabs together and you like what you hear, then that is an absolute result which nobody can argue with because it is what YOU are wanting to achieve/hear.

My money is on @Bassassin!

I'm patently looking in the wrong (right) places as I saw one sell locally (NE) for about £1200-£1500 last year!

She it... if I was paying £3300 I'd want him to be hand delivering it... on a velvet cushion!

Collection only. With flights and taxes it'd still end up being $5.5 - $6k... I really need to find one in the UK.

USA... £6k + 25-30%. Possibly not!

I search for one of those for sale in the UK, every single day!

My conclusion also.

Aside from anything else you have a dial on ALL amps that stops them destroying cabs... the volume control. A Bugatti Veyron can go 200mph but my 80 year old mother could drive it to the shops at 30mph. You just don't press the loud pedal all the way to the floor.

One of my 2x10 cabs was more than enough for most pub gigs; 2 was often overkill but when stacked vertically they were the match for any cab(s) in pure volume.

I would be wary of assuming it is 20%. I am fairly sure you'd be looking at 25%+ on the total cost, regardless of free shipping.

Cheers for the offer Paddy, I might take you up on the offer sometime but we all know it has to be heard with the band and I have no rehearsals for a while (I still rehearse way more than you do though ). Saying that if I see one pop up for sale used I might need to make a quick decision so I could blast down and give it a whirl. Speak soon.

Now you've lived with it for a while @Paddy777 how are you finding it? I always loved the sound of a GK 800 RB and the Plex is just about the only preamp pedal that interests me at the minute. I'm not going to splash out on a new one but I might keep my eyes open for a used one if they are as good as you describe (considering the number of preamp pedals you've had LOL ).

Massive inspiration for me as a youth and fledgling bassist. Wish him nothing but the best.

I like the look of the P16 but tbh the expense is extravagance. The X32 is ours, solely for our use as a means to get our own monitor mix without relying on engineers; it will likely be set once at a tech rehearsal and then just tweaked at different gigs via the app.

...but all 6 of us could just use an app on our Android or Apple phone direct to the X32?

If using the Behringer solely as a mixer for us to access our own mixes for live use I'm not sure how/why/where/when we'd need to use the Aux outs for anything else... or would we? Is the P16 necessary for personal mixing if we can do it on the Aux of the X32 rack?

Let's be honest though, every single one of those bassists has also endorsed different manufacturer as well!

I was literally just Googling this to see if those jack outs could do the same as the XLRs.

That is pretty much the angle I am coming from as the system we put together is just for us to have control of the IEM mix, as opposed to being reliant on (harassed) multi-band event engineers or in-house engineers who are just not familiar with the band. I'm pushing for us to have pairs/stereo outs for the IE. However, the X32 is the front runner and it can't do 6 stereo (or pairs) of outs; the other lads in the band don't think it is a deal breaker so maybe I'll just ask if I can have stereo even if they don't!

Well he came to my house maybe 17-18 years ago to potentially buy my USA Sadowsky... and he didn't; despite having driven a few hundred miles to get to me! Maybe my bass tarnished it for him!

This might sound obvious but if we are all mono, I'm assuming you are talking about we (individually) mix/pan our soundscape to match the stage positions, as opposed to panning stereo effects etc?