grandad

Quote, "mid scoop is for amateurs". I much prefer a little mid scoop.

Thumbs up.

I had a Workingman 10 and 110 ext cab and a 210 ext cab. Well made, not lightweight, giving a fairly clean tone as I remember.

[quote name='phil.c60' timestamp='1501145255' post='3342764'] We have a very simple setup: a Yamaha EMX512SC powered mixer and a pair of Electrovoice SX 300's which are 12" passive speakers. We normally only put vocals through it and occasionally harmonica. I have put my bass through it via a Sansamp VT bass on a couple of occasions due to amp issues, and it coped perfectly well for that. We don't usually use monitors, but occasionally end up with one or other speaker behind the microphones and provided you tweek the speaker angles don't get any feedback issues. The speakers I bought second hand from a Basschat ad about 18 months ago, the mixer came with a pair of Peavey Hisys 15's and stands and leads for £300 via ebay. The Peaveys proved to be a bit to big for smaller venues hence I bought the EVs but we were in a similar situation to you when we bought them and needed something quickly. That was 3 years ago and the PA is still going strong, (we gig around 25 times a year) and we use the Peaveys if we play outside and want to mike up the kick drum. As it happens, I bought another Yamaha EMX 512sc desk as a spare which is in much better nick than the scuffed one we gig and have never used it.....if it's of any interest pm me! [/quote] +1 My big rig is now an EMX5016 into a pair of EV SX300's and before that a 5012 and before that a 512. Never had a failure with Yamaha equipment. But others will have had similar experiences with other makes and one tends to recommend that which you feel comfortable and familiar with. By the way the Yamaha user guides are very well written.

I've used a Yamaha Stagepas 600i for a couple of years. It's an easy to use lightweight compact system. The one button anti-feedback system works. Definitely worth consideration. If you do choose it, best get separate covers from Hotcovers rather than the Yamaha cover which is a bit awkward to use. On occasions I have placed the microphones forward of the speakers without suffering any feedback when not using monitors.

2 medium scales that sound very different. The Tokai is very warm and deep. The Aria is brighter, more mids.[attachment=249086:100_0240.JPG]

If I'd have bothered to keep proper accounts for gigging as a second income I reckon I would have received a refund when you think of everything you can claim for on expenses, all your gear, clothing, travel, paperwork, etc. A decent accountant can more than save you his annual fee. As has been said, the taxman probably realises that already. A lot of pub's here in the Midlands are allowed about £150 a week for entertainment. Still usually cash in hand, sometimes signed for.

Tried out the Roland drum-kit at the music club last night. Great piece of kit and in pristine condition. Thanks for the bargain.

Well it has been my journey so far, but only since my fifties which was when I first picked up a bass guitar. From pub's to clubs to functions and weddings took care of the first 15 years covering 50's, 60's and 70's pop. I was persuaded to go along and play with a small jazz ensemble by their rhythm guitarist. 18 months later I'm still there and loving it. Doesn't seem quite so 'hectic' as the covers band scene. Just sax, trumpet, guitar and myself on bass. Occasionally we play with guests. It wasn't inevitable so much as by luck to meet up with these lovely people and play some great music. We're all 60+ years old and not interested in regular gigging but make a public appearance about once a month. Happened at the right time for me.

I would have said it's the pop-suppression in the amp, a 10nF across the on/off switch or a NTC thermistor in line. But that would be heard whichever speaker cab is connected. Strange one that. I can't think what it could be. Logically if it only happens with the 15" then that points to the speaker being faulty but what sort of fault within the speaker would cause such a strange symptom I know not. There must be a bright-spark on BC who will know. I'm intigued.

[quote name='markdavid' timestamp='1498478206' post='3324832'] Thats strange that it says contemporary, usually contemporary is the mid priced made in china line, i am guessing at that price the quality is in line with the german made 500/1 Gorgeous looking bass [/quote] That's Australian dollars. They're about £500 in the UK.

1970 Isle of Wight - Hendrix, The Who, Free, Groundhogs, Joni Mitchell, The Doors, and many more I can't remember. Entrance free, camped on the hill overlooking the arena.

A fellow member of the music club I help run has taken up playing bass as a hobby in his retirement. He's treated himself to one of these: [url="https://www.basscentre.com.au/products/violin-bass-model-bass-gtr-antique-brown-sunburs?variant=350215263"]https://www.basscent...riant=350215263[/url] So impressed was I that I think I'll have to get one. So to fund it I'll cull my collection down to 3 and just be content with my Aria CSB-380, the HCT 500/1, and an old Yamaha Motion Bass that I'm resurrecting. And that I think will be it, no more GAS. N.B. I'm impressed with the sound quality in the video.

I think I'm on the side of too expensive and just not comfortable. Have you tried a violin bass? They're lightweight, great tone and relatively inexpensive. PM me if you're interested in trying one out on loan from WS8 6HU.

It all depends on what type of band you're in, type of music, fixed or random playlist. Are you putting on a show as in the visual antics being important or just playing background music. Also as you get older you can't remember things like you used to. For 15 years in a covers band I never used a music stand. The last 18 months in a jazz quartet we all do. Myself and the rhythm guitarist sit down as well.

Congratulations on the refurbishment. I've done a couple of refurb's myself and it brings a lot of satisfaction to give an old knacker a new life. I have a soft spot for violin basses but as has already been asked, what is there to hate?

Just spent about 20 mins on Youtube watching a number of his videos. Tried to find something I could bare listening to all the way through but I'm afraid to say I failed. I did try! He is obviously very accomplished. I am 69 this year but I don't think it's an age thing, just not my cup of tea. I concur with Blue. Anyway here's something by way of contrast that I'm able to appreciate, best listened with a cup of tea and a rich tea finger biscuit whilst sitting in a comfy armchair. Lovely sax solo! https://www.youtube.com/watch?v=7KLn9FqsDtw

I've had good results with 2 Fane 8" in my in my TCE BG250-208. http://www.bluearan.co.uk/index.php?id=FANSOV12-300_4

I've had the end plastic clips on a shoulder strap snap with a bass landing heavily on the floor. I'd advise metal clasps.

The best action of my 4 Basses is on my 1981 Aria CSB380. Never adjusted, the neck is superb. I don't know what flat-wound strings are on it but the silk is red and the tension is quite high and the tone fairly growly and bright. The action is low all the way to the top fret. My others all have lower tensions, (various flats), and slightly higher actions but still lowish. Recently set up my Violin bass using my Tesco clubcard for string height. Managed to get a reasonable action and intonation after several attempts, those floating bridges can be a fiddle.

The similar Bose systems I have experience of are fine for what they were designed for i.e. maybe a singer guitarist with backing tracks. They are lightweight and portable. I'd not recommend the likes for a PA in a large hall with a high ceiling. If it is to be easily moved then look at at the recommendations here on the many BC posts which will include RCT, QSC, etc. Folks tend to quite rightly recommend the kit they've had positive results with. In my case it's Yamaha and EV which I use at a smaller community centre, (capacity 200 max).. There is some great kit out there and it's a big decision so do your research. I would also think about acoustic treatment for the venue. My experience is it's money well spent. This might include surface treatments etc. to reduce reverberation level. Speaking occasions should be given special consideration. There's nothing worse than listening in a room with a poor PA and poor acoustics. And some folks will be partially deaf so you might want to consider a loop. Professional advice might be worthwhile, good luck.

How many players are there? From my limited experience of playing in a jazz quartet for 18 months and on a few occasions with a larger orchestra, in a trio or quartet there's no place to hide and the rhythm section needs to be tight. With larger numbers of players individual errors are less noticeable. I have found that many standards, once nailed, need no further rehearsal, they stay fixed in memory. Numbers having a more mutable nature need an agreed arrangement for the rhythm section to allow the 'vocal' instruments somewhere to return to. With only 15 numbers, 2 or 3 rehearsals should have them all in the bag. I reckon we're up to about 60 numbers on our set-list and rehearse most weeks. We introduce a new number to learn most every other week and usually nail it after 2 or 3 practices unless it's a one of those numbers that never quite gets nailed good enough to do live. It sounds to me as though your fellow musicians subscribe to the laissez-faire school of Jazz, which I have come across, whereby, whatever the outcome the performance is the Art. And that's OK so long as all involved know that.