jrixn1

Just to clarify: if it's the bass pictured in your other thread, https://www.basschat.co.uk/topic/453501-nbd-squier-precision-70s-bass/ - that's not a stock bridge in the first photo. The second photo's headstock logo is the current series: https://www.fender.com/en-GB/squier-electric-basses/precision-bass/classic-vibe-70s-precision-bass/0374520506.html

How about one of these: https://www.pulse-audio.co.uk/product/nl4-split/ or similar.

I wonder if https://truetone.com/cs6/ can do it. The 12V is labelled 200mA, but the text says: "Although we had to put power rating labels on each output to satisfy certification agencies, the outputs can generally handle far more than the label shows [...] The important thing is to not exceed the total of all the labels." Perhaps if you email them, they can clarify?

Doesn't sound like you're doing anything wrong. I'm out of ideas about what's up with the mixer. A DI box will indeed lower the signal to mic level (i.e. you'll also need an XLR cable; plug into a mic XLR input on the mixer). I used Behringer DI400P and Radial ProDI; any old passive one will do. Other than the issue at hand, it's also a useful thing to keep in your gig bag in general.

You can check your levels are approximately correct on each device: Create a new, empty patch (i.e. no effects) on the Zoom. Is the volume when using the empty patch approximately the same as when using your existing patches? Similarly, is the volume approx the same either with or without the TC Electronic in the signal path? You don't need to be at the studio to do these; check with headphones or with your bass rig.

Yes, I mix on upright, and for a short while on bass guitar I had rounds on BE and flats on ADG. The round has more clarity on the B string than a flat. Sounded good, and they blended fine, but in the end I prefer flats tactilely.

So it does - thanks!

I have one of these current-series Classic Vibe 70s (I think they were announced in 2019) and it's great. I did some recording earlier in the year and used this bass over a Sandberg VM (since sold). I found the stock tuners were fine but I swapped to some Hipshots I already had lying around. I shielded the cavity as there was one venue where I got quite a bad buzz (have not been back there, so dunno if it has helped; no buzzing problem anywhere else). Stock pickups sound good to me, so leaving those alone. The neck is really nice - I love playing this bass. The 1 5/8" nut width is pretty standard, but the front-to-back depth is slimmer than a normal P bass. My other bass is a much more expensive Maruszczyk Jake: the Jake gets more play time as it's a 5-string, otherwise I'd play the CV all the time.

For flats: I had a P bass with La Bella 0760M "Original 1954", 052-110, all strings tuned down one step, which I thought worked well and sounded good. Pino had this setup on the D'Angelo album Voodoo.

Perhaps the G string is twisted (try taking it off and reinstalling it) or is faulty (replace it).

(I know this is the FRFR thread... but) what about one of these: https://reverb.com/item/39339547-ashdown-rm112-t

Dunno if you'll save any weight - a Big Baby 2 is 12-13kg, whereas an RCF 732A is 17.8kg. Barefaced's got that pretty much wrapped up. You'll save money though: the PA companies have economies of scale on their side. Afraid I don't have any videos or recordings.

My RCF 732A replaced a Big Baby 2.

If you ever use one of those reel power extensions, bear in mind that they have different ratings for wound and unwound. When wound, I think it drops considerably (this one drops from 2400W to 720W, so that's just 3A). We didn't unwind fully once, and it started smoking during the set!

I have been using and really liking the EBS preamps, so that's my recommendation; but you can also consider the TC Electronic Spectradrive, if you can find one (are they discontinued?), or Palmer Pocket Bass (no compression though). https://www.tcelectronic.com/product.html?modelCode=P0D9D https://www.palmer-germany.com/en/products/guitar-effects/5140/pocket-amp-bass

It depends exactly which cabs you're eyeing up; but from what I think you have in mind, it's going to be a trade-off between having the practice rig as absolutely tiny as possible vs how much louder than that you need to be for gigs. The 350W head and a 4ohm 1x10 will make for the physically tiniest/lightest possible rig for practice; but adding an 8ohm 1x10 will augment it only slightly for gigs. (As Merton says, it will be getting only 1/3 of the power.) Whereas the 800W head and (say) a single 4ohm 2x10 will be noticeably louder for gigs, but not be so tiny for practice. I don't think either is more correct than the other; depends on your situation and priorities.

I wonder if 350W into two cabs isn't the best match, as the 8ohm cab is only going to be ticking over (117W). The 800W head and a single 4ohm cab might end up being a more versatile combination. Or to put it another way (supposing your cabs are a 1x12 and a 2x12), 350W into 3x12" is going to be more to carry, more expensive, and less loud than 800W into 2x12".

True, some might find a way round it. But you're also going to have a lot more people overall taking a test who mightn't have otherwise - which is a good thing.

All my gigs are with the same one band, mainly functions/weddings + a few clubs/theatres. I haven't asked my bandmates, but I assume they are vaccinated. Bandleader has asked us to do a lateral flow test the day before each gig and let him know if positive, but we're not chased up on it (i.e. he doesn't ask whether we've done it or not). At gigs, we minimize interaction with anyone not in the band. Singers have their own assigned mics; if anyone else uses one of our spare mics (e.g. for a wedding speech), it is labelled so it can be cleaned/isolated. Masks recommended when in smaller band rooms and shared vehicles. Take breaks outside where possible.

It's asking a lot of the £360 Yamaha if your benchmark is a Fearless 112. If you up the budget to a comparable £700-£800 (QSC K12.2, RCF 732A, RCF HD32) then it's a fairer fight!

What are your current PA speakers, and is your bass going through FOH? If so, it means you need only stage monitoring and for that you might be able to use equipment which is less good at reproducing low frequencies. A high-pass filter can make its job easier too (perhaps one is available in DSP). Also, can you use in-ears instead? They are much lighter than any speaker cabinet!

Unlikely. In-ears are acoustically isolated, so generally you would have the volume a lot lower than the equivalent backline. You could crank it though, I suppose; but you'd be doing it wrong.

Maruszczyk truss rods are reverse: anti-clockwise to tighten. The truss rod is really to set the relief, not the action. To check the relief, press the E string down at the 1st and 16th frets; then while doing that, the string height at the 8th fret should be hardly above the fret - but not so low to be touching it. You can (or should) use a feeler gauge to be more accurate. Then only when the relief is correct, set the action at the saddles (as Chiliwailer says).