Dan Dare

Might be worth asking Chris at Rift Amps (in Northamptonshire). He does re-creations of classic valve amps, as well as his own designs. According to his website, he's developing a valve bass head at the moment.

Good points. I use a Babicz on my vintage J. It has the properties you describe and works very well. Being aluminium, it isn't really high mass, despite its appearance.

I used a Bassman 2x15 for years, with the rubbish stock drivers replaced by Peavey Black Widows. Loved the sound, but I got too old/decrepit to carry it up the stairs to my first floor flat in the end. I agree with msb. Modern 12s can do all that traditional 15s could. I keep thinking I'd like another 15 (single with a neo magnet should solve the problems carrying it). These days, I'm using 5s. Lots of them.

We're trying. It's difficult sometimes...

Exactly. If you go ampless and use IEMs, you really need a high quality PA. Many bands are using decent but not outstanding vocal only (or mainly) PAs, which are perfectly adequate for pubs, bars and clubs. They will cope well enough if fed a small amount of kick and bass to augment the sound from onstage rigs, but would struggle if required to do all the heavy lifting. It's a different matter when playing large venues with a serious PA, of course, but many do not do that.

"So much for free speech in America". Funny how those who bang on about "free speech" get twitchy when others exercise their right to it, isn't it? Btw, this is the UK. Instead of being a grown-up and saying "Let's agree to differ", they throw insults around and behave like kids in the playground. I suspect this is because they are really looking for validation, so when someone disagrees with them, they cannot deal with the existence of a contrary opinion and take it as a personal affront. Truly a sad state of affairs. Love the thread title, too. "How freedom feels", rather than something adult, such as "I prefer not to use backline". Enjoy munching those freedom fries and wearing that MAGA hat (which, if you check the label, you will find was made in China). You have yourself a wonderful day

Definitely worth trying an offer or two, especially if they've been up for sale for a while. The worst that can happen is that they say no.

Don't knock it. He sounds ideal. Many of us would love to have a guitar player with that attitude in our bands. Just place a mic' in front of his cab and put some of him in the PA

Is this a one-size-fits-all device? If so, I don't see how it can work. Valves need varying voltages, circuits, biasing, etc. You can't usually just substitute one type for another.

Oh dear

A soundcheck is essential when the person mixing is also playing, because it's nigh on impossible to fix things on the fly or even hear if anything is amiss unless it's really obvious or glaring. As others point out, it should be brief (no noodling, practicing in public, etc). If there are people in the venue, I set up individual channels on cans, then play a swift burst of a recording I'm familiar with through the PA to check the FoH sound. Then we announce that we're doing a soundcheck, the band plays and I have a quick walkaround (playing via my wireless) to check all's well and make any adjustments needed. Only takes a few minutes. Better that than trusting to luck.

Always a good thing when an artist's work is recognised, but all this Hall of Fame stuff is a load of corporate b/s. Imho obviously.

What separates your band from the other bands in the areas you work in? Not a lot. We're pretty decent, but not exceptional. What do you have that others don't? See above. If you were pitching your band to a prospect, what would be your bast selling point. We won't pinch anything, get drunk or start fights.

This is very true, but you need a starting point. I get instrumental and vocal sounds in the ball park individually and then make final adjustments with the whole band playing.

It sounds as if you are seriously unhappy. Were I in a similar position, I would be putting out the feelers for alternatives. If that's the case and you don't absolutely depend on the money (at least until you find something else), there's little to lose from having a frank conversation. He may be a great player, but if he's mixing a wedding band to sound like a HM outfit, he can't have much understanding of the concept of horses for courses. The fact that you so often get the same complaint should have told him something. If his reaction is to shrug/laugh it off, he may be beyond reaching or convincing. I think you might have to accept the present situation or look elsewhere.

Oh dear. What do listeners think? Care to post links to some of your efforts on here for our delectation and delight?

Perhaps the case if you are playing large stages where everything is routed through the FoH, but for jobs in average-sized bars, function rooms, etc, amps are very much alive.

You're going to be spending decent money, so it's well worth spending time auditioning and comparing. The last time I bought a new amp, I took a day off work and headed for Bass Direct (other shops are available). If you go during the daytime in the week, they will not be busy and you can try things to your heart's content. Fwiw, I like clean with the ability to dial in a touch of character and ended up with an AG700. I'd agree with alexa3020 that a TH will probably be a little too coloured for your tastes, but no harm in trying one. Ditto Markbass, although they have a party piece. Up close, you can feel they are a bit too honky/coloured, but out in the room, they sound fat and clear. Some amps that sound clean close up can fall a bit flat at distance. Any/all of the good brands are worth a try. They all have something to offer. I use PJB cabs, so find the slight warmth of my AG complements them well. PJB heads are too hi-fi for my tastes, but that's just me.

It's a pleasure. You probably do this already, but I find it best to set channel eqs with the FOH and monitors turned down. You may have to ignore "Can't hear myself" protests from the singer. Ask them to sing as loudly as they would when the band is playing, too. Once you have it dialled in the cans, you can use the master eq to adjust for the room.

Yes. Engage the PFL (pre-fade listen) on the channel whilst setting eq on cans and you should hear just the channel eq. You may have to set the signal sent to the cans to hear the individual channel, rather than the sound from the master eq. It's best to use closed-back cans for the job, so you hear as little of the room sound as possible.

An issue with do-it-all combos for guitar and bass (or keys) is the speaker and the way it's mounted. For bass, the ideal driver has a rigid, heavier cone to push air cleanly with no breakup. The cabinet will be closed backed and often ported to boost or at least preserve the low end. If you want to play clean jazz guitar, that works fine. It can work for acoustic guitar, too, although you will benefit from a tweeter for some sparkle. If you want a more characterful electric guitar sound, the ideal speaker will have a lighter, more flexible cone that can break up in a pleasing manner and the cab' will often be open-backed, which reduces low frequency output (you don't want too many lows with electric guitar to avoid muddying the sound). At low volumes, it will be OK for bass, but a bit weak lower down. For bass, I'd look to run the master volume at max/near max and keep the input gain as low as possible to avoid distortion from over-driving the preamp (unless you want it, of course). It's very difficult to get the best of both worlds. The Roland you mention will probably be as good as anything. You pays yer money and takes yer choice.

A great way to lose customers, eh? I don't do online shopping, so don't know whether it's possible, but can you specify no substitutions when you order?

It always amuses me when I buy something expensive and am instantly bombarded with ad's for more of the same. I appreciate that it's AI at work, but you'd think the wallies who programme it would build in something that recognises that few if any of us buys something costing a ton of money every week.