jrixn1

Another variable worth considering is the power of the head. The Barefaced one10 webpage says "safe with up to 500W if you're running fairly clean sounds" - so if your desire is to be louder, it could be the head which is the limiting factor, not the fact that you only have one cab. A PF350 outputs 250W into 8ohms (one cab) or 350W into 4ohms (two cabs). As a comparison, I have a Shuttle 9.2 which outputs 500W or 900W. But what difference will it make? BTW I don't have any technical expertise in this area, so please point out if I've misunderstood or misinterpreted any of the following! I used the sound pressure level calculator at http://www.sengpielaudio.com/calculator-efficiency.htm, with a sensitivity of 95dB (as per Barefaced one10 webpage), and the calculator's default distance of 3m. The starting point is PF350 into one cab, which gave 109.5dB. The results: PF350 into two cabs → 113.9dB (an increase of 4.4dB). Shuttle 9.2 into one cab → 112.5dB (an increase of 3.0dB). As an approximate guide, a increase of 10dB is a doubling of perceived loudness. So with 4.4dB increase vs the Shuttle's 3.0dB, the winner is the PF350 with two cabs - but I think it's close enough that a more powerful head remains a comparable alternative to getting a second cab. Some other results: Shuttle 9.2 with two one10s → 118.0dB. PF350 with a two10 (sensitivity 98dB) → 116.94dB. PF350 with a four10 (sensitivity 101dB) → 119.94dN. Anyway - hope it's interesting. There are other differences between one cab or two: using one means less carrying, whereas two cabs probably have a deeper tone and will be taller. And anyway, theoretical calculations should probably yield to any real-world experiences. FWIW I use my Shuttle 9.2 and a single one10 most of the time (although I do own two). This is with a ten-piece function band who is still quite loud on stage despite owning a huge PA.

[quote name='Al Krow' timestamp='1510046768' post='3403391'] [color=#282828][font=helvetica, arial, sans-serif]- I moved the bass combo (which is not going through our PA) to a raised platform area adjacent to the PA and out from behind me and the mics. EQ: I backed off the lows a little and [/font][/color][color=#282828][font=helvetica, arial, sans-serif]pushed the [/font][/color][color=#282828][font=helvetica, arial, sans-serif]upper mids and treble a touch. Seemed to entirely eliminate bass 'boominess'. [/font][/color] [/quote] Perhaps I've misunderstood - but does "[color=#282828][font=helvetica, arial, sans-serif]adjacent to the PA and out from behind me"[/font][/color] mean the bass combo is now at the front of the band, facing forwards (into the audience)? If so, how do you hear it yourself? Was the previous boominess caused by the placement of the bass amp in the room, or by the mics picking up the bass, or the previous EQ setting?

Where did you connect the AER "line out" to, on the Tone Hammer: the "input" or the "return"? "Return" is probably the correct one, as that will be expecting a line level signal, which will then go straight to the power amp section, bypassing the pre-amp section (the drive, gain, and eq).

The one I've used on Android is https://www.zubersoft.com/mobilesheets/ It can import your existing PDFs, and then you create a setlist by dragging the songs into whichever order you like.

@naxos10 - yes, I initially thought about putting the Dual Lock just on the feet - but I wasn't sure if the bottom of the feet had enough surface area for the glue to attach to, and if (like @Kirky says) I'd just end up ripping the piece of Dual Lock off. It is really strong! Just with one strip (as pictured below), if I lift the head up vertically then it stays completely attached and picks the cab up off the floor. But if I lift the head from the back and sort of rotate it up and forwards at the same time (if that makes sense?) then it comes off pretty easily. I suppose time will tell if the glue eventually fails...

Actually - having now realized the strength of Dual Lock, the metal L-plate is redundant. Extreme tilt angle shown for demonstration purposes - this head is not going anywhere!

[quote name='discreet' timestamp='1462364403' post='3042377'] The stand is a Stagg 14707 [/quote] @discreet - thanks for the tip-off re the Stagg 14707 stand. It seems to be an exact match for a One10. I wasn't completely comfortable just hooking the head's feet over the front of the cab. I'm often on a cramped stage and I felt a brush or knock from a clumsy band member (or indeed myself) might knock the head off. This was my solution: Although it's a shame the Barefaced logo is now covered. Anyone do anything similar? BTW I used strips of 3M Dual Lock (like super velcro) but I probably only needed about half of what I used. That stuff is strong!

Update: J&D Mini has been in the back of my van for the last year or so. Haven't needed it as an actual back-up, but have done a couple of gigs with it out of choice. It sounds good, it's really fun to play - and it's so, so light! Happy with it stock, including the strings - just pimped it recently with the cream pickup covers. (N.B. can confirm pickups are standard/full-size.)

I bought a bass from Hutton. He sent it out very promptly, with clear communication and updates at every stage, and the bass arrived safely and just as described. Thanks!

I messaged Pete on Weds night about a pedal he was selling. He was able to send it out on Thurs morning and it arrived first thing on Fri. Pedal was in perfect condition, as described. Couldn't ask for anything more!

I have Silver Slaps with medium action, and they work well for the musical styles you mention. The low tension makes them quite easy to play (compared to steels).

It's sometimes easier to pick up a 4x10 and put it on a 2x10, rather than the other way around, because: - the 4x10's handles are higher up, so you don't have to bend as far down to pick it up - once picked up, you don't have to lift it as high (because the 2x10 you're placing it on is not that tall). Of course, this might be negated if the 4x10 was significantly heavier than the 2x10. My rig from ages ago was a Hartke 410TP (4x10) on top of a 2.5XL (2x10). In that case, they actually both weighed the same as each other (30kg each!).

I have a Harley Benton PB-20 (i.e. their split-coil P-bass) - originally bought as a back-up, although it's currently my bass of choice (functions/weddings). I'd also be interested to hear if someone has tried the PJ-74 you linked to. Another option for a £100 PJ is http://www.dv247.com/guitars/jandd-yc-pbj-4-string-bass-guitar-3-tone-sunburst--201881

How about a G&L L2500 Tribute.

[quote name='Paulgm1' timestamp='1498514430' post='3325227'] I managed to put it out without stopping playing! [/quote] Nice one! I once smelt burning halfway through a gig, and turned round to find the power extension reel smoking (all stage power was being run through that reel). We hadn't unwound it. I know now: always unwind the power reel!

[quote name='hooky_lowdown' timestamp='1498478329' post='3324836'] Where did you get the tort pickguard from, is it a direct fit? [/quote] It is this Harley Benton one: [url="https://www.thomann.de/gb/thomann_cc_pb_tt_pickguard_pstyle.htm"]https://www.thomann.de/gb/thomann_cc_pb_tt_pickguard_pstyle.htm[/url] One screw hole doesn't line up at all. The rest were close enough. The pickup cut-out was slightly too tight for the pickup to fit through, so I had to widen it a bit with a file.

I have the same setup (PB-20 bass + 9050M flatwounds) and it's great. Highly recommended combination. I indulged in a tort pickguard.

[url="https://www.facebook.com/session.de/videos/1747500891934190/"]https://www.facebook.com/session.de/videos/1747500891934190/[/url]

Bought a book from Dave. Arrived promptly and well-packaged. Many thanks!