Dan Dare

I notice that Phil stated above that no eq was used on any of the systems and several have commented that the separate sub caused boom. In a real world situation, surely one would employ eq to address issues such as this? We aren't hi-fi flat earthers, after all. I say that as someone whose hi-fi has no tone controls/eq, but I wouldn't dream of running my PA flat. None of the rooms/spaces I play in are acoustically perfect (many are downright dire) and I suspect that applies to pretty well all the gigs any of us does. In a perfect world, one might be able to run things flat(ish), but I've never encountered an acoustic space that good. I'm also using mainly dynamic, PA/live use mic's, which have anything but a ruler flat response. I run a sticks and subs PA and find I always have to roll the subs off by 2 or 3 db, as well as setting HPFs at around 40hz to keep the low end tight. I also do as Dave Natale recommends and pull back the pain frequencies - 160hz and 2.5khz - by as much as 12db (with more gradual roll-off on adjacent frequencies) and play around between 5 and 10 khz to remove grit and spit. The pattern of faders on the graphic or settings on the DSP can look a bit extreme, but we don't (or shouldn't) listen with our eyes.

I know. I was using the chart to illustrate the idea that impedance is frequency dependant. I did point out that the impedance of the driver to which the chart applies would be at or around 4 ohms through much of the useful part of the frequency spectrum. You are correct in all you say, of course. I was attempting, without being too technical, to re-assure the OP that he shouldn't worry as long as he is sensible. In his original post, he informed us that he uses an AG700 (as do I), which is stated to be able to drive loads down to 2.67 ohms min impedance.

This. A driver is a reactive, not a resistive load, hence the variation in impedance with frequency. Below is a typical impedance curve. You can see impedance is highest at the resonant frequency (the lowest frequency the driver is capable of reproducing). It drops to around 4 ohms through much of the useful frequency response, rising again at the upper end due to voice coil inductance. I pointed out earlier that the stated impedance of a speaker is an average (the term usually employed is mean impedance). In practice - again as stated above - there is a safety margin with any good quality amp, which means they will drive lower impedance loads as long as you don't push things (either via cranking the volume too much or presenting them with a very low impedance load). That means you don't need to worry as long as you are sensible. The danger signs are obvious - sound gets dirty, volume drops, amp gets too hot, etc.

Same here. The issue was not the bass DI, but the kit and vocal mic's and also the fact that the stage was a hollow wooden box that acted like a resonator. Even engaging HPFs didn't solve the problem.

No. London. "The Hog County" is an old nickname for Hampshire, where I live now following my retirement.

They look good. I like the idea of a 3x10. Enough grunt for most situations and lighter than a 4x10. A shame the MB isn't taller and slimmer, with the drivers in a line. I had an Epifani UL310, which I really liked, but it was pretty well the same size as a 4x10 and awkward to transport, store and carry up the stairs to my flat.

True, but just to confuse things a little, a tweeterless Super Compact makes a really nice noise with a P bass strung with flats. Being, er, compact, it lacks the really extended low end of the larger 12XN cabs. I think a lot of the hi-fi nature of BF 12XN cabs is to do with that and the tweeter. Really extended low end is not always a good thing in bass cabs for onstage use. A couple of years ago, I was engineering an event and one of the bass players had a Super Twin. Up close and in isolation, it sounded magnificent, but in the mix/room, the low end was just too much. I had a hell of a job persuading the bass player to roll off the bottom end. It was going down all the mic's, causing the stage to resonate and was generally a nightmare to control out front.

A problem with all Fenders, with their all-bolted construction. It's so easy to screw a load of parts together and make a few solder joints. I've always thought it likely that many "custom" builders use parts from Warmoth and similar to create "custom" Strats, etc. Sure, they will iron out any rough edges and finish them nicely, but essentially, they are offering assembled kit guitars, often at high prices. I'd certainly be wary of any bargain "Fender". Buying new is the safest option, or if used, from a dealer. Then you have some redress.

That'll likely be 4 ohms, which could cause impedance issues when combined with the others.

He does, but I'd be wary. It looks likely they are hire stock, which tend to get hammered. Given that they are not massively outdated models, it could be that his tech' has advised "it'll cost more than they're worth to fix them. Best to stick them on the 'Bay and get what you can for them".

You don't need to worry, as your amp is rated to drive 2.6 ohms. Unless you really cane it (in which case, you're likely to notice because it will distort), you'll be fine. An amp will only overheat if you try to drive a lower impedance load than it can cope with. There's a safety margin before issues crop up - the impedance of all speakers varies with frequency and the stated impedance is an average. You'll only have problems if you really push things.

I love the way advertisers think that saying "Ex Massive Attack" or similar will increase the desirability of an item. "Ex (add band name here)" usually means "has been chucked in the back of vans/trucks, kicked around and generally caned by someone who wasn't bothered about the cost or repair/replacement". A bit like advertising a used car as "Ex Lewis Hamilton".

At least the strap's Fender... Should be titled "Imprecise bass guitar"

I often run three 8 ohm cabs with an AG700 and it works well. It isn't so much louder as fuller sounding. As a general rule, running an amp into too low an impedance can cause it to overheat because it's being required to deliver more current than it is capable of providing. At low volume levels, it probably won't be an issue, provided the amp is adequately cooled and you aren't asking it to drive 1 ohm or similar. A low impedance load is easier for an amp to drive up to a point, but it's when you push things that problems can arise. Many modern amps have some sort of protection circuitry, which will shut down or mute them if you try to overdrive them. Obviously, you'll need to let the amp cool and address the issue that caused the shutdown before continuing. You're also likely to notice the sound gets dirty prior to the amp shutting off. Of course, if you like a dirty/over-driven sound, you may not notice that until there's a problem.

On that basis, maybe the OP should splash out on a vintage Alembic or Ken Smith...

Same. If it makes people happy and gets us booked back, it's only 5 minutes out of my life. I've got little time for those who turn up their noses at popular numbers. Aren't we supposed to be entertainers?

I had a set of 5 year old Chromes on my main gigging bass until recently. Tonally, they were still fine, but the intonation had started to become a bit vague, so I changed them. Am playing the zing off them. It's mostly gone after a month.

Never say die. I'm 70 (one of the reasons I bought a good trolley) and still doing it. If you do think you may not be playing for too much longer, that's another reason not to throw a lot of money at new gear.

If you like your existing cabs, buying a quality folding trolley is a lot cheaper than replacing them. Don't buy a Chinese 40 quid cheapie. For a little over £100, I got one that is rated to 150kg that makes shifting gear easy.

Few 1x10 cabs will cut it in a band that plays "pretty loud rock", especially if you rehearse at or near gig volumes. The laws of physics and all that. A quality 1x12 would be better, but you don't appear to want to spend much. As the saying goes, "Light, loud, cheap. Pick any two".

Under-rated = someone whose playing I like, but who is not as widely appreciated as I think they should be. Dave's a very good musician. As pointed out above, he was (and probably still is, although he's almost 80 now, so he may well be taking life easy these days) a session player. it's in the nature of the job to do it well and not be a household name or someone the music press raves about. I don't suppose he's bothered. He's made a good living out of playing music, which is an achievement in itself.

I'd like to try some different pickups in my Rebop. At the moment, it has EMG HZ p/us, which were what it came with. I know the HZ was the budget EMG. Tonally, the sound is not very subtle. The low end is massive, the mid honk very pronounced and the top end is a little reticent. I know that mid growl is part of the Spector signature sound and I don't want to lose it, but it would be nice to tame it a little and add a bit more air in the highs. It's a 4 string, so EMG 35 type p/us should suit. I'd rather not have to start routing it to get replacements to fit. Anyone tried the EMG 35P4? It's claimed to be a bit closer to a P bass sound, which could be interesting. All suggestions appreciated.

2x45, as most say, seems to be standard. 2 hours with a 15 minute break, so 1x45 plus 1x60 is common, too. I find functions can be longer - 3x45, for example. Having at least two hours worth of material ready to go should be fine for most jobs.

What Burns-bass said. It's been a few years (quite a few), but I used to play there in the early days of the Irish theme bar boom, when O'Neill's bars booked Irish music (my original/main instrument was the fiddle). It could be interesting. There was little to no stage or separation between punters and musicians back in the day, so when it got boisterous (which it did on occasion), it was a case of sauve qui peut. Sounds as if little has changed. I'd set your monitors up well in front of you to (hopefully) act as a barrier to the punters. Brizzle seems to be one big building site/pedestrian only zone these days. I played in another Bristol bar last autumn and we couldn't get that close had quite a schlepp from the vehicles to the venue.