warwickhunt

I don't mind hearing ANY advice, so long as it is based on science or reasoned factual experience (which yours is obviously). Loud band - no on-stage feedback experienced at any time. I should add that other than my attempt with IEM I always wear moulded ear plugs. In the past couple of years I've gone (pretty much in this order); 1. Backline projecting to room/FOH with PA Aux send to 310 on floor as monitor for my vocal + lead vocal + guitar (guitarist uses IEM no backline) > 2. Pedals/preamp into PA / FOH split into backline as my bass monitor (NOT projecting into room) with PA Aux send to 310 as monitor on floor > 3. Pedals/preamp into PA / FOH with everything back through Aux return to my IEM > 4. Pedals/preamp into PA / FOH split into backline as my bass monitor with PA Aux send to my IEM for my vocals and rest of band > 5. Pedals/preamp into PA / FOH and Aux send to 310 on a speaker stand at my side of stage with 'everything' in it (excluding drums)> I think that covers my journey and I have to confess the last few gigs with scenario 5. have worked pretty well. I've used my preamp pedals (Fishman Plat Pro + Sansamp) with HPF to ensure no wasted energy in my monitor or PA. 'IF' this is to be my favoured set up going forward, I feel I'd like to get the best bang for buck that I can, with the caveat I don't like wasting/squandering money (not sure that last bit is always true). I know the RCF310 is doing a good job but I'm asking these questions of myself and others, just to be sure I'm having the best experience that I can. A friend is loaning me his QSC K10 (series 1) to gig this Saturday to see if I notice any obvious difference between the RCF / QSC using the same size 10" driver. The venue does have floor monitors but I'm going to get them to bypass theirs and go into my monitor. I'm tempted to take both monitors and either link them, swapping them over from floor to stand between sets or just to unplug and replace each between sets.

Interestingly a friend has a pair of the original QSC K10 speakers for sale (£800 the pair, very light use with covers)... now I need to research if they are worth getting or do I hold out for 12.2?

My situation - Play bass and sing harmonies in several (loud) bands and play acoustic guitar in a quiet duo. I own various bass rigs but I'm wanting to move away from that weight/load and I've tried/failed the IEM route, so a good quality active speaker mounted on a stand at the side of the stage will be my rig and the same speaker could do the acoustic duo as FOH (2 might be overkill). I'm presently using an RCF310 (I have 4 in total that I bought as a package) which is working fine but I feel I'd like to take the next step up. My shortlist is QSC 12.2 or RCF 732/932 but I'd not be averse to a similar quality 10" but I feel that to get the best from the vocalist in the duo a 3" compression driver would be best (don't know of a 10" driver + 3" CD). Am I missing anything (manufacturer or series/spec by QSC RCF) by focusing on these 2 options and/or could I get away with a lower spec version of the above (inc 10")? I could buy a single of the above new, so that is my budget but I'm inclined to look for used as that's just the way I'm wired.

I have one built into the Fishman Plat Pro preamp pedal, set and forget.

Approx... but pretty close. (Cost of item + shipping) + 25%

Sadly not an official RW.

Nice. What have you got in the way of tone shaping between your bass and the floor monitor?

Just a small thing but we do a sound check with guitarist/vocalist listening out front with radio gear listening to the overall band mix (sans vocals), then I go out front (radio gear) to set the balance of vocals + band with him singing. We also always check the same song so we know it has a mix of guitar sounds et al.

One other consideration which you may well have already done if you've been gigging is to start your initial set up with all of the EQs 'flat'. I've seen people step up to an unfamiliar desk/PA and start setting EQs based on what 'their' system generally has set... before anyone blats a drum, plays a note or sings a line! Once you have a basic set up you generally will just tweak for venues, so long as everyone uses the same gear with the same settings etc (bass drum mic always in the same place).

I'm sure others more versed in the best way to convey the order and setting will contribute but I'll throw these observation in. Have as much power 'in reserve' as you can, generally called head-room. This doesn't have to mean that you haven't pushed the master fader all of the way up, it can be headroom in various stages of your equipment. Do NOT allow band mates to back off on the volume they are sound checking at; guitarists dialling back the guitar volume, drummers not putting in the energy that they will when they start. If they sound check at one setting then up it for the gig you have wasted your time setting anything! Position your speakers appropriately (I'm sure this will be covered). I'll likely think of more.

Personally I feel the polar opposite; I've been screwed over several times and lost goods and money due to paypal's system/decisions... so it has gone wrong! I sold something to someone (not BC) and they claimed via paypal that the goods were broken/faulty on arrival. Goods were returned to me and they got a full refund... only the returned goods weren't the ones I sent and despite my photographic evidence showing different serial numbers they closed the case in the buyer's favour. I also sold an item and the buyer claimed not to have received the item, filed and got a refund. I provided proof of postage AND a signature on receipt but apparently it wasn't the recipients signature so I was left trying to claim from the courier who washed their hands of it as they had a signature from the person at the address it was delivered to. I've had several other disputes via ebay/paypal and it has been a right chew on to get resolution. Hey but we each make our own decisions and each to their own.

Yeah, we need to kick his backside but he gets the guitar parts great! 23-09-16 He's a whore.mp4

Quite correct and I should know better than to perpetrate that untruth but often it is easier for people to identify the types... but it is incorrect as you say.

One word... 'Heft'! Straight off I'll set out that I have owned (inc the Puma and a small version of the Genz) amps with digital power units, hybrid valve/class D, full valve, class A/B and I've never considered that any class D amp has delivered the authority of a good solid state amp. The Thunderfunk 550/750 will not give you 'overdrive/distortion', its focus is a good solid tone which it delivers in spades. If you are able to A/B them, I'd defo advise seeing if the core tone suits your taste but as for bringing anything extra, I don't think it will if you are happy with what you have.

Are you comparing active Sandbergs with passive Fenders? If so, I'd generally expect that even flat, an active bass has the potential to sound 'different'. Otherwise basses constructed in exactly the same way from the same materials will sound similar. Saying that I've found that body woods of Sandbergs are by and large lighter than Fenders (poss better seasoned) and iirc they are smaller than Fenders. Sandbergs also have a zero fret and better quality bridges (IMHO), which potentially alters the tone.

Doh! Really should have looked at the front of the bass for the knobs. Yep that doesn't look right; it didn't come with stacked pairs. Someone has done a tidy job. As it happens Warwick couldn't have helped you with that info, as it is after market. What brand is it on the board?

All correct except neck is Wenge (as is fingerboard). What makes you think it is aftermarket EQ? Looks like period correct MEC.

To be honest chuck a couple of photos up and there are several folk who'll tell you everything you need. I will say from the off that the email to Warwick 'sometimes' generates an answer that isn't always accurate... I've seen enough examples to challenge that every email is answered by HPW.

The letter stamp is the month: A=Jan B=Feb etc excluding the letter 'i'. The number following the letter is the sequential number of bass it is that month. The 2 digit number is the year. K148 87 = October 1987 the 148th bass that month There is the odd exception (Ltd Ed) which vary a little but they are easily read.

Legally/technically et al, if you get paid for doing a gig, it is employment and you 'should' be telling your insurance company and paying the premium. In reality... if it is the occasional gig and not your 'job', not many will be doing the above; especially as the excess premium will wipe out 10 gigs worth of money! If you were to have a bump and it was investigated that you were on the way to/from a gig you could have your insurance void. I suppose an individual has to do that risk assessment and decide for themselves. I know of no musician that declares they are a musician (if you know me I stand to be corrected) and I know a lot of them; likewise I don't know anyone who has ever had an accident while gigging... not to say it can't happen. I refer back to my first statement as the correct / legal answer.

GAS is a measure of what you 'want' not what you have. I may end up selling some basses to sate the CAS!

I found contentment in a couple of purchases this year (Sandberg & Marusz...)! Only problem is, I bought a 2012 Volve XC70 D3... I have serious GAS for a slightly newer D5 version! LOL

Search on BC for FRFR or any number of key words from your question and you'll find lots of similar and informed threads.

3 years old.