Downunderwonder

Transit B is total overkill for clean sounds. Still, for what you would spend later on chasing compressors, plus a tuner, an overdrive, then the EQ DI pedal you might be ahead.

My SMX and 1518 are from 94/95. MDF and battleship grey tolex and LAF. The speaker is a Celestion Made for Trace Elliot which I believe to be same as the one they used in the smaller 1523 cab. The 1518 is an extremely sensitive cab, does not make much below 60hz so HPF or judicious use of the graphic EQ is required to go loud. If replacement is required, I have been told the Eminence 3015 is a goer.

Generally when my solo is finished the predominant emotion I am getting is relief.

Looks like a bought one!

Does doing both of those two options at the same time count? As in, try as I may my adoring public are not motivated to rapturous whistling. Polite applause and a couple of ye haws ( thank God the music is starting again??) is my lot.

Have you investigated for a mains power source?

I just figured the chording would be more straight forward with trad guitar intervals.

Headroom is only headroom if the cabs can handle it being applied.

Not sure what that means. Ultimate caution warning. Do not connect two amps to one set of connected cabs, not even by mistake, or you will get two smoking ruined amps almost instantly.

The only ones worth having are very expensive. Worth it for buskers but an extension cable from the park receptacle is the go for me. I imagine UK parks used for public events are similarly set up with power rather than all and sundry hiring in generators?

If I did that on my amp I would still be going out the DI with the PA playing the tuning tune.

Wouldn't you string it as a bass 'guitar' with B and E on top?

That's correct. It blew me away when I found out that cab impedance varies widely with the frequency. I have no idea how series funk happens, despite Agedhorse's best efforts.

£112......and sold.

You may possibly be able to rewire your 4 ohm cabs to 16 ohm each. Then you can plug one @16 or both into your new amp @8ohms. They would have to be multiple driver cabs. If the amp is hefty it won't have a problem with one 16 ohm cab. Other option is a series cable, for running the two 4 ohm cabs in series = 8 ohms.

Reminds me of the autoharp things the teachers used to play in primary school.

I have gone straight in because I couldn't be arsed plugging all the stuff in. It makes my EUB sound like the big fretless bass that it is. I prefer the secret sauce that makes it sound more like a double bass.

The bar manager has to have a much better handle on his comings and goings than average costs per pint served. Otherwise they might miss out on opportunities to profit from spending on bands!

That's just more of what I was at pains to point out after that quote that all makes cost per pint served a lousy metric in the band v no band calculation.

The night of the week doesn't factor in the band value calculation. It goes something like this: (Sales - costs, with no band) vs (Sales - costs with band on). Monday sales have no influence on the sums for Friday. ''Keeping the lights on'' costs are fixed. Product costs are relative to sales. Band cost is ( usually) fixed. Staff costs really should go up with band, or they are paying too many staff the rest of the time and it's not a factor. Bar is quids in if they get the regular staff running when a band is on. For the sake of making the numbers easy let's assume staffing is always commensurate with the level of trade. The cost per pint is less when they are busy because the ''keep lights on'' costs are the same every night. 'TimR's Monday night' doesn't hold to the staff commensurate condition. The busy nights effectively have a portion of Monday night's staff and 'lights on' overhead attached to them. But those costs are fixed whether the band is there or not. Some places make a go of having a top notch band on Fri Sat and a fool on a stool or a quiz or poker or something the rest of the week. Those are the gigs every band wants but they only go to the ones that keep the punters happy. The bar expects to be busy. The band expects to be paid. More complicated is the bar that has occasional bands vs football and juke box barman. Costs per pint on a busy band night is then very much in the bar's favour, but it has to be, to ''keep the lights on''. So in a weird way Tim is wrong but also right.

I think on average you have to sell 3x the cost of the band to cover the band and the extra staff costs. Keep the place pumping for an extra hour and you know you're good value.

If very artfully applied there would be a very fine seam to a wrap. That would be next to invisible if the junction between front and back formed any sort of pattern. If you meant the dip film, not sure. I believe it is a very fine film and by the time a couple of clear coats were added the edge would probably disappear. The prepping would have to be the same standard as paint so the only advantage would be if doing something super funky.

A Prunes & Custard...Harmonic Generator Intermodulator. Lush with all the lows and attack.

Found it. Fuzz not distortion: https://www.woundedpawaudio.ca/fx/index.php?main_page=product_info&products_id=3

It is charcoal black with graphics in white. Sorta horror movie graphic of war bandaged goat hoof. ATTACK GOAT in pseudo Mars Attacks all caps style. Made by a Canadian outfit that isn't as well known among bassists as Broughton. More known for their multi channel blenders I think.