Dan Dare

Just spotted the following Ai description on an eBay listing: "Crafted for the bass enthusiast, this 4 string electric bass guitar from Rip offers a versatile foundation for musicians looking to explore the depths of electric bass. Its sleek design and robust construction are geared towards providing a comfortable playing experience and reliable performance. The guitar features a string configuration that is evenly spaced to ensure a balanced sound, perfect for both practise and live settings. With its unbranded mystique, this bass guitar allows you to take centre stage without overpowering your audience, making it an ideal choice for players seeking to make a statement." I know these descriptions are AI generated, but some numpty had to programme it to come up with this tripe to begin with. Beam me up, Scotty.

This. Most class D amp heads use power modules from Hypex, IcePower, Pascal and similar. The modules are readily available, proven, reliable designs and it simply isn't worth amp makers designing their own/reinventing the wheel. Most modules are at or around two power ratings - either 300w into 8 ohms/500w into 4 ohms or 500w into 8 ohms/700w into 4 ohms. Some amp brands inflate their power claims. I have a Carvin that claims 1000w, but it's no louder than my 700w Aguilar if you turn both up to the point that the clip light flashes. I wouldn't be surprised if the Peavey mentioned is the same. Watts are cheap nowadays. All amps have a volume control, so unless funds are really tight, buy the more powerful version, be sensible with the volume control and don't over-drive your speakers (you'll know when you do because they will make horrible noises). Your sound will benefit from the additional headroom and when/if the time comes to up the size of your rig, the amp will still be up to the job, saving you from having to sell and upgrade it (which always costs).

I avoid anything - instruments, strings, etc - with an artist's name on it. You're bound to be charged a premium. Same applies to virtually anything, really - clothing, fridge-freezers, cuddly toys. If it bears an endorsee's name, you're going to pay more.

This is what it boils down to. If you like the sound of 15s (and don't mind carrying them), the technical arguments are irrelevant, even if they are true. If you are happy with the sound you make, you will be more relaxed and confident and play better.

"A piece of rock history"? Oh dear

This. Before anyone says it, I know you'll probably have to kiss a few frogs before meeting a handsome prince, but that's just life. Perseverance brings reward. You might try Bandmix, too. It costs, but isn't expensive. Attending jam nights, etc, as others suggest, can be helpful, too.

The reverse - people coming up and telling us we were crap - is also true. Doesn't mean we were, but that they didn't enjoy themselves (for myriad reasons - perhaps they just split up with the wife, got the sack, lost their shirt on the 3.30 at Towcester. Who knows?). We still did our job.

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.