mrtcat

Looks like I may have to do it. Tempted to re do a headstock logo to match my 75ri, matching knobs etc then if it feels good it could be a project for future upgrades. May well become the most expensive cheap bass I ever own

Wouldn't share my kit with anyone. Too many morons out there who would happily trash it. It's the main reason I hate multi band gigs and rarely do them. When I do I go self sufficient and lightweight so I can load in and out super quick. If others want to share with each other that's fine and I'll make sure I'm out of their way super swift.

At less than £35 a string that 7er is ridiculously good value! Could never play one myself but I'm really interested in knowing how you get on with it.

Looking for a value 5er for use in our covers band. I currently (and pretty much always have / will) use my beloved fender USA 75 ri jazz. I need a low b for a couple of songs we do but don't want to spend a fortune for a posh five string. Squier do the vm jazz 5 in natural with maple board which basically looks like a five string version of my 75. Anyone have one or played one? For £300 new or about £150 used it looks like great value?

http://matthyde.co.uk Absolute genius and a great portfolio. I've known Matt 15 yrs and everything he's ever been involved with has turned out first class.

Shameless selfie with Steve White and Woody from Bastille taken last week at the Freddie Gee drum academy after my band Iron Pussy played a midweek show for the students. Steve White joined us on stage to play our anthem "Pornstar" and was awesome. That said, our regular drummer Rocky Tubbs is pretty killer too.

My daughter is only six weeks old but I'm gonna get her drums as soon as she is old enough. How cool would it be to have a drummer that I can ground or put on the naughty step when she starts being a pain at gigs or rehearsals?

[quote name='JTUK' timestamp='1407144475' post='2517641'] Be careful which ART's you get and what for. I think some ART's are ideal for monitoring as they can be very pokey and directional... which is exactly what you want for monitors, IMO... but FOH they are waaay too spikey and harsh and just plain uncomfortable to listen to for long if they are blasting at you. At first, you think this is a good thing as they cut thru glass, but they are also very wearinfg and you just want to escape them... [/quote] +1 for this. For foh I'd recommend the rcfs with the 2inch tweeters (322,325,422,425,722 etc etc) as they are way smoother. They are considerably more expensive but worth every penny.

[quote name='Lozz196' timestamp='1407091103' post='2517252'] Seeing as a Peavey 410 is over 100lbs, this seriously must weigh the same as The Moon. If he sells it it could cause an inbalance in The Earths gravity. [/quote] Don't worry about it. That'll never sell.

For blues I'd go with the hartke. Just pray it doesn't go wrong because a more retarded company for repairs I've never known.

Buy Rcf gear with confidence. Their gear is built for gigging. I too was disappointed with the dxr10s. It's a shame that they don't make a dsr110 as the dsr112s are a whole different kettle of fish and I was really impressed with them.

Forget the idea with the rack eq. Either save on for the head you want or for the pre / power amp combination. Seems to me like an ampeg sound is what you want so a sansamp pedal or even the bargain Behringer bdi21 and any decent powered head should do it and that would give you a good sound to pass to an engineer at bigger gigs.

Any suggestions for getting a similar result from a drummer who is unbearably loud?

I'm a joiner carpenter and I never do any work for free for anyone except my close family. I have absolutely no problem with anyone asking me to work for free as long as they don't mind when I say no.

Just an average weds gig with my big hair 80's metal band down in Winchester. Good crowd in a good bar. Oh yeah we had Steve White and Woody from Bastille on drums for a couple of songs.......as you do.

AH600 if you're interested? It can be rack mounted with a little tweak if needed. There is a gear wanted section in the marketplace that you'd be better off posting this in tho.

10s are better for monitoring IMO as you want lots of middle to get the vocals to really cut through on stage. Most 10s are stronger in the mid range. We generally cut a lot of low end from monitors as it tends to muddy things on stage a little and you can crank the speakers a bit more then.

Hot wedding nr Andover. Hard floors, glass walls and high ceiling made it tricky. What made it worse is that our drummer is a bell end and, despite being asked repeatedly, wouldn't play quieter than "stadium volume". He's gonna be a goner at the rate he's going. He's good and he knows it but he has the brain capacity of a five year old child.

Big TE fan here. The old amps were pretty loud. From experience I think a lot of older cabs were far more efficient at converting the watts to volume. I have a TE AH600 now and it's not as stupidly loud as I recall them being in the 90's but think it's more to do with the modern cabs I use. The combos go for peanuts now because they're heavy but other than weight I still really rate them.

I'd look for a powered pair of Rcf art 322s or 325s. Great all rounders with smooth top end and good reliability. Don't bother with the 312s, 315s, 412s etc as the 1 inch tweeters are poor. A pair of 322a's went for well under £400 on ebay recently.

[quote name='icastle' timestamp='1404328232' post='2491676'] My covers band have a very simple way of deciding on material. We leave any pretence of 'artistic integrity' at the door and play the stuff people ask for and dance to. If that means 'Mustang Sally' and 'Johnny Be Good' then so be it, our diary is bulging all the way up to NYE and we're already taking bookings for 2015. [/quote] +1 for us too.