Paul S

Then hush my mouth!

The headstock decal says 'Made In Japan' not Mexico. The strat looks the same, though, so I am both mystified and probably wrong about it being a fake.

I think one Supercompact is enough for most situations. Last night I had a gig in a small country pub (The Cock in Stansted Mountfitchet). 1 Supercompact, Trace Elliot AH300, passive P bass. Had the gain at 1 o'clock, master at 8 o'clock, people reckoned we were too loud.

Well, first the disclaimers. I don't profess to know much about these but I do own a Fender Squier series Precision. As far as I know the 'Fender Squier Series' basses is how the very early Japanese production Squiers were referred to. After a few months they ditched that name and were called Squier by Fender. So, in effect, we should be talking abut one of the very early (1982) JV series basses, which had a headstock and logos that looked like this: So, a spaghetti style Fender logo. But in any case that headstock is the wrong colour for 34 year old maple. It looks brand new - I suspect it is. There is a good page about them here: [url="http://www.21frets.com/squier_jv/jvprecisionbass.htm"]http://www.21frets.c...ecisionbass.htm[/url]

[quote name='Oldman' timestamp='1445626434' post='2893006'] Bought a Richter Strap from Gareth, easy peasy transaction. What's not to like, great guy. [/quote] Ditto

Whoever lashed that together didn't even bother to research what they are supposed to look like. [url="http://www.ebay.co.uk/itm/fender-precision-bass-guitar-squier-series-Japan-/322028134838?hash=item4afa5f61b6:g:BXQAAOSwh-1W2Yur"]http://www.ebay.co.uk/itm/fender-precision-bass-guitar-squier-series-Japan-/322028134838?hash=item4afa5f61b6:g:BXQAAOSwh-1W2Yur[/url]

I found 'The One' a little while back - a mid 80s medium scale MIJ Squier Precision. I have a couple of others that come close that I have 'bonded' with but whenever I play 'The One' (as I did at last night's gig) I am reassured that it is indeed 'The One'. Something about the neck makes playing it a joy, something about the quality of the tone that is exactly what I am looking for that isn't quite there on the others. I also have lots of others that I use and enjoy for rehearsing and occasional gigs. Plus 'The One' isn't really the most suitable for one of my bands, not quite aggressive enough, so I use others for that band. My view is that I have room for them and can afford not to have to sell them so I keep them.

I couldn't be happier with my Barefaced cabs. I started off with a Compact, added a Midget, sold those and got a Supercompact, then added a second.

[quote name='EBS_freak' timestamp='1457094885' post='2995280'] Not always. For analogue - Generally on small analogue desks, there will be one or two. On medium desks, there are typically three or four. On large format desks there are typically 6 to 10 (but we are talking large touring desks here). In touring situations, it's not uncommon to split the XLRs at the stage and have a front of house and a dedicated monitor desk to do the IEM/wedge mixing. In digital world, even the smallest desks tend to have a large aux count than their analogue equivalents. Remember, you'll need two auxes for a stereo IEM mix... so thinking that your desk with 6 auxes is plenty... well, it depends upon what you need. Thats a maximum of 3 stereo mixes, or 6 mono mixes, with a mixture of stereo and monitor mixes in-between those two boundaries. In the digital world though, there are more options... like the Behringer P16 or A&H ME1 - which remove the reliance on dedicate aux busses. [/quote] I think the main thing here is we are looking at very different gigging scenarios. Typically with this band we play in a small pub, using a small desk that has just 2 AUX outputs. We all have the same mono mix. And for our purposes this works well. But I can see for bigger gigs with more complex equipment it can only be better - just not necessary for our level.

I don't know much abut desks but isn't there usually always a line out for monitors? That is the feed we use, balanced lead connecting this to the transmitter. It has a different mix to FOH.

[quote name='EBS_freak' timestamp='1457027865' post='2994650'] I would wager that a lot of pub bands haven't got a PA capable of putting a band through effectively. [/quote] In our case, even though everything is mic'ed /DId, we use usual backline in conjunction with vocals going through FOH with very little of anything else going through the FOH mix. The IEMs are used in place of monitors, which has a mix of everything so that we can hear what we are all doing in a balanced way at an acceptable volume. It isn't a complicated system - we don't each have our own personal mix - but I find it a vast improvement over wearing earplugs and struggling to hear the guitar the other side of the drums and/or vocals.

[quote name='colgraff' timestamp='1457020010' post='2994530'] I say yes. I have the super cheap Gear 4 Music ones and the whole band use them. Much greater clarity of sound, much quieter so no hearing damage. No monitors to lug around and so fewer cables and clutter on stage. I'd possibly argue that a pub band's need is greater than a 'proper' band's as pub bands generally have less space hence poorer acoustic management and more noise pollution to contend with. [/quote] This. For all those reasons. With one band I've recently started to use a T Bone entry level transmitter/receiver with Shure SE215 earbuds and it is a revelation.

PM one of the classified section mods and they will do it in a thrice.

You could always try to find one secondhand. There will be one in the classifieds very soon