Lozz196

In previous bands, where we had a stand up vocalist I always preferred stage left as it stopped the clumsy fools bumping into my headstock. In my current 3 piece band that’s not a concern so I’m stage right as the singer/guitarist really hates the sound of the drummers ride cymbal.

Looks great, well done

Well the BF 12s are your guys then, imo. As they`re pretty much flat response you can dial in exactly what you want without having to counteract the baked in eq/frequency setting of a cab so what you get on stage is what FOH gets if you DI post-eq - ideal if you don`t want a generic bass tone for the band. I think Chris is pretty spot on with either two SCs or a SC/SM combination - and that little stack with an MB800 would be plenty loud enough for outdoor stage monitoring, plus being so light and portable you`d probably end up using it all at whatever gig you were playing, irrespective of size.

The 210 has a much warmer vintage sound than the compact or midget, indeed that’s why BF call them Retro. I used a GK RB with the 210 & 410 and just couldn’t quite get that hard sharpness of the GK sound through, so I’d look at their 12s instead. Additionally for outdoor festival gigs I’d be looking at least at a 212, although BF are quality cabs a single 112 outdoors irrespective of monitoring, well it’s asking a lot.

Markbass cabs do have a high-end roll-off. Couple that with a Tbird which already has mega lows, and then playing it in drop C, plus adding a Sansamp with its big low-end and mid-scoop I think the lack of that crisp high end definition could be working against what you’re aiming for.

My three 2012-16 Precisions have been £800 each, and I can’t think that spending five times that would get me a bass that I’d bond with better. And given that I don’t have four grand to spend on a bass I’m not going to try, I think I’ve peaked and found “the ones” fairly reasonably priced.

I was there for the 10th anniversary, what a gig that was. Have to admit it but I wasn’t that surprised when Lemmy went, as he’d looked to be in poor shape for a while. I think the saddest thing re Motörhead was seeing the cover of Ace of Spaded without any of the guys in the pic, indicating they’ve all now passed on. The best Motörhead line-up imo, hopefully making ear splitting noise wherever they are now.

I used Markbass gear for a good few years. For a while it seemed that every time I saw a covers band and like the bass sound it was a Markbass rig. I only changed due to my current bands needs requiring a sound that Markbass wasn’t able to - at the time with the range available - produce. I’m pretty much in agreement with Mick @The Greek that I, like some others, have gone back to heavier amps as they just have more of the sound I’m looking for. The nearest I’ve come to the depth and weight of sound I want in a smaller class D amp is the Ashdown RM500.

Our guitarist used the Xvive and hasn’t had any issues at all.

Probably George Michael. I’m in no way a fan, but I suppose him being of a similar age, coming from the same area, and being more like a regular bloke it seemed sadder somehow. Like you kind of expect those who have lived lives of excess to go, but not the ordinary ones - though afterwards it was revealed that he did live a little in the fast lane so to speak.

No outrage here, exactly what I’ve done with my Ashdown 410

Yep, I use the Dunlop Tortex Wedges, big, easy to grip, and as they are triangular you essentially get 3 picks for the price of one.

Well it wasn’t- for them!

Well it wasn’t- for them!

That’s a shame, I’ve had 2 of the TH500s and 2 of the TH350s, never an issue with any of them. They’re not an amp that I’ve read any horror stories about so this is probably a one-off, so don’t lose confidence in them, they’re usually super reliable.

That’s a good call, a couple of Vintage Jazzes and Precisions (plus Les Paul’s & Teles for our 6 string brethren) wouldn’t cost too much but would save the day, and even on a fiver per rehearsal pay for themselves pretty quickly. On track with the original question, I’d go for the cheapest rounds and flats as they'd only be to get through a rehearsal. I’m pretty sure everyone would change to s new set of their favoured brand once getting home so no need to get expensive or loads of ranges, just steel & nickel rounds, plus flats, standard gauges.

Pretty much the same for me, though my preamp is the Sansamp Para Driver. My on-stage sound I can then adjust when/if needed without interfering with FOH which seems to be a factor that sound-people like greatly.

Fenders best Precision pickup, imo.

Yep, sit down, read the science, and realise your folly.

I currently own an RM500 head and have had an RM210 cab, think both are great so my leanings would be to the RM-C210T-500-EVO.

Yep I did the double-Gig bag thing for a while, would have been, yeah the one and only time I took it out fully loaded with 2 Precisions. It sounds like a good idea but in reality I found it heavy, awkward and just plain difficult.

Tort

Assuming that the 1x18 you have is a more vintage sounding than modern cab then Markbass cabs may be worth looking at. They have a top end roll off so sound nice and warm in the mix. As above Barefaced are def worth considering. They do have a much clearer, modern sound, well aside from their Retro range that is. And lastly the Ashdown RM cabs are worth a look. They’re nice and portable but sound great, are light and very reasonably priced too.

I use Fender cables nowadays, but for quality and value for money it has to be our very own OBBM.