mrtcat

104 in total having played pretty much everywhere between Aberdeen and Salcombe. 102 of those were with my band (I only joined in jan) and 2 being deps. 2 were pub gigs and everything else was either a wedding or corporate event. 2020 looking equally busy. Summer was utterly mental because I also run a little pest control business and i did just over 200 wasps nests whilst holding down regular contract work and up to 5 gigs a week on occasion.

Well that didn't take long. Thanks to xzodar who actually delivered this to my gig this evening.

Yep, I'm fortunate enough to have funds available at the moment and I really want to have a decent 5 string in the stable.

Yeah on a trace amp the active / passive switch is nothing more than a pad. His theory is correct but he is assuming that the switch is something different. As long as you have set the gain correctly so the red light isn't on too often then it'll make no difference which way you have the switch pushed.

a) 2025 has no scratchplate or chrome control cavity cover. Essentially the same bass other than that. b) 1025 assembled in Indonesia 2025 assembled in Japan. Both use the same parts although I believe the 2025 body is subjected to the vibration treatment.

This.

I just use a regular amp / cab set up when I need backline. I have two parallel signal paths running in the helix. One has amp and cab sim and goes to foh via xlr out and the other has no amp or cab sim and goes to my backline via the 1/4 inch jack output. Both signal paths have overdives / distortions / compression / eq etc that are switched when snapshots are changed.

It is indeed a 1024x. I bought it used from this very forum for under £500. It has pushed a selection of far more expensive basses down the pecking order and is my go to bass for live work.

The best combination of amp cab and bass I ever owned. The bass was the cheapest part of the set up to buy but it's off the shelf sound is so good that it was worth the expense of the amp and cab in order to let that sound be heard clearly.

Alive Network. My second band with them and they've always been brilliant.

Playing for the RAF in Cyprus. We have to be at Brize Norton on monday and they'll load all our gear onto a plane and fly us out there. Coming back on New Year's day. We've done it before and our agents now supply masses of acts to HM forces. We get really well looked after and the pay is daft for something we'd happily do for free.

Never has small and light sounded so big and hefty.

Amazed you lasted long enough to get sacked. I couldn't live with any of the above in a pub band. Best off out of it.

My UE6s are the same. One slightly larger hole and two slightly smaller ones. I tape my in ears to the desk set up the Hoover pipe next to them (taped down also and use a tiny piece of wire to gently and carefully loosen anything in the holes. The air flow over the in ear is usually enough to pull it out.

Absolutely the best looking basses I've ever seen here or anywhere else. I'd absolutely love a Gus bass and hopefully one day I'll own one.

For that budget I'd be looking for something used. Roland kits might be a stretch but if you can find anything by yamaha you'll not be too far wrong.

Wow. That's some great deals on UE stuff.

This all day long. A bit like EBS_freak I do everything from big corporate parties to small pubs. IEMS are a godsend in tiny venues where you're all on top of each other. They allow your sound to be pretty much identical on any stage. If our drummer was "old school" and only had one volume level then the only way I could ever work with him would be with IEMS. It let's me control exactly how much of him I hear. A simple overhead condenser and a kick mic works fine. Without IEMS I would just get annoyed that he didn't have the brainpower to see that failure to control his volume not only buggered up the foh sound in a small venue but it also buggers up what everyone else in the band hears.

From experience I've rarely found any tops from QSC, Rcf or Yamaha that can't cope with a whole band and bass through them unless you really stick to their entry level gear. Using a hpf wherever necessary in your mixer can really free up some headroom.

Pa speakers make great bass amps. After all its usually pa stuff that pushes audio tech forward with many bass amp manufacturers being way behind the curve.

Singer does it. None of the rest of us mind what goes where and none of us could be arsed with the whole committee decision making thing.

Colleagues first and foremost. This band is purely work for me (and the rest of the band) and it's all about delivering a good product and making money. We do over 100 gigs a year, many involving long journeys, so it's important that we get along ok. There's no issues at all and we generally rub along well. My band mates are all individuals tho so on a personal level I like them to differing degrees. I like the lead guitarist a lot, he's a really sound guy and we always have a laugh. Band leader is a really nice guy with a great sense of humour but he's very quiet and pensive a lot of the time so not that easy to feel like we're particularly close mates. Drummer can be great and really friendly but also can be an utter knob. He tends to throw strops and chuck mutually owned band gear around so I have very little respect for that. My wife refers to him as "the man baby" because he can be really childish and stubborn at times.