Jack

Bought a Stomp as a backup, then realised I only ever used the Stomp as it was enough so I sold the full fat Helix, then realised the Stomp wasn't enough so swapped the Stomp for a Quad Cortex. As ever much time and money was spent for little, if any, gain.

At one point I had two matching 4u Gator racks. One had my bass rig in (a wireless and Helix). I needed this rack for every gig we played. The other housed my mixer and bluetooth music player. I only needed this rack when we were providing our own sound. Guess who showed up to a festival an hour away from my house with the one, wrong rack? I've long since moved on from the Helix but the mixer rack is still in use and still has several large '2' stickers on it just so I can tell it apart from the long gone '1' rack with the Helix in. Hey, at least I learned my lesson to label things clearly.

Oooooh I like this game. The good: Sansamp. I wanted a more old school sound and the internet peer pressured me into buying a sansamp. I went for the paradriver, fearing the mid scoop of the bddi, and I absolutely love it. It's the only thing I've profiled on my QC. Countryman Type 85. In the early days TB told me I'd need a di box. They also told me that the countryman was the best. They were kind of right. It's been 20 years and it's the longest serving piece of gear I own. The bad: B string. Fives have extended range, they're more versatile, everything you can do on a four you can do on a five. Humbug. My first Stingray, a realisation of my dream bass, my crowning achievement as a bassist, custom made for me by ebmm, all wasted by ticking the five string box on the form. If that bass had been a four I'd still have it for sure. Quad cortex. I like modellers, that's the best modeller. Right? Still not convinced it's as good as my helix was.

Don't you guys know that "each of the worm-holes in fact acted as a sort of resonating chamber resulting in a lightweight instrument laced with unparalleled acoustic properties and overtones"? Luddites.

Yeah but pity the poor sod who paid £5k yesterday. Or those PRS with the casual £2500 off, that probably stings if you got one last week.

I just got an advert for a sale at Andertons in my browser's discover section. There's not too much bass stuff there but in fairness what there is does look pretty reduced. If you happen to be shipping for mostly Warwick and Sire you'd be paying used prices for new gear. Not for me, just passing it along.

You guys think you have it bad? My dad's a ... lead guitarist. Dun dun dunnnnnnnnnnnnnnnnn. Nice guy though. Shared the stage with him before.

Done plenty of gigs with 3x guitar wireless and 3x wireless IEMs. No problems as long as you plan properly.

I get that it's awkward and slow but is it actually unhealthy?

I am significantly smaller than that but I don't think I want a fretless that small with how terrible my intonation is even on a full scale. At what point does it just become a violin?

I bought a Hohner Jack that had been badly converted to passive. I put the Artec in and loved it.

Can you post a photo of your setup? What do you mean when you say you cant hear the pedals? As in you can't hear a different whether they're turned on or off?

I think this is an underrated opinion. A lot of people go "ooooh I like that bass, I'll just put my strings on it, get it set up to my usual action, put the EMGs that I like in it... etc etc". Just stick with what you've got then. I'm kicking myself for changing my SB2 to VVT. No tone control is part of what makes that bass unique, even if it is a weird quirk.

Sometimes it's just easier to go with the flow. I've definitely plugged a 1/4" patch cable between my Sansamp and a Behringer DI box before. Leaving a perfectly good (probably better) xlr on the Sansamp unused. I'll pick my battles.

I had this exact thing at a scooter rally a few weeks ago. Klark Teknik on the frontline with a long cable plugged in. I just plugged it in after my board and thankfully there were no problems but I did wonder what would happen if it came to a disagreement. It can't go before my board as I'm wireless and said wireless is my tuner. It's not going between the wireless and the modeller as I use the pitch shifter. Even if I didn't I am NOT rewiring a board on stage with 5 minutes until the first song. So it's after, that's the only choice.

The TC Electronic BG series of combos are everywhere for super cheap. Any one would suit you and the tone print means you get to try out effects for free.

Oh, the sound for the tour on IEMs sucked? Oh, the sound for the loud stage volume band sucked? Goes to show that the methodology isn't the problem.

I know we've drifted a little off topic but it seems as though the soundguy in @YellowLedBetterBass's post is actually up for pretty much any other preamp? They have even offered a house Sansamp if a bassist doesn't have one of their own. Being told "any preamp you like, or I've got one here if you want" is probably more than most us get at most gigs? Can't say I understand the hatred. Although some of you are relating some other horror stories. I guess I do understand the general hatred!

What are the low profile xlr connectors?

Franz Ferdinand do what I suspect is put fabric covers over road cases. Sorry that they don't work for you, but please don't try and tell those of us who are doing it that it can't be done. It's possible to create excellent stage sound using a variety of approaches. Those 'farty' frfr cabs are the same ones that do mains pa duties on thousands of stages across the world.

I really like the powder/baby blue that the Sire MMalike basses come in. Purple would also look great.

Not sure what you mean by 'North' but my mates in alternative originals bands can't always count on pa support up here, it's a world away from swanky covers in posh wedding venues. If you know what you're getting in to then fine. If not I wonder if it's worth having a nice rig (say a darkglass head and 2*10 cab or whatever) and then picking up an old 810 or something for super cheap for the gigs where you have to loosen fillings on your own. If you're sure you can get away with stage volume then don't sleep on the modelling combos. The Fender Stage, the Boss Katana and even the Blackstar stuff can all do proper grindy, compressed rock tones for little money and even less weight.

Someone is selling a G&L SB2 in the classifieds, that would be a superb bass if you decide to go that route. I've used mine on plenty of rock music gigs. Maybe an Ashdown combo if you decide to go with the amp. You can get a pro level amp for budget prices with those and again, great rock sound.

Not beyond the realm of possibility I suppose. The blend control will be first in the circuit and have two wires coming out of it going to the pickups. The pickup might be wired per coil and the tech just connected the wires up either without thinking or without caring.