Downunderwonder

A highpass filter will help you with the big booms and save on stretching cabs into distortion. Next problem becomes overheating which manifests as getting quieter despite turning up, until no sound comes out. Before that happens you need to get the stage volume under control. No way you should be unable to hear yourself properly with a stack of speakers and 700w amp.

Plenty of experience with 1000w and 800w class D. I haven't tried high volume sines as that would be bad for the cabinet. I haven't been in a band trying to blow the doors out since before the revolution. The times I have given a 800w sone beans it didn't seem to be doing anything the Trace couldn't, except lighten the load.

A Trace 250w will pump out a sine at 250w without complaint. Your average 500w "RMS" class D will whimper quickly. Full expression of transient peaks from your Trace watts is a wonderful thing.

I guess ebay now have to extract the money out of the buyer on behalf of the courier?

The Commando green case calls for grey or black knobs if you ask me.

A 21kg 210 is pretty manageable in the greater scheme of things though. If your big rig was a 810 I would understand.

Sorted. What you need is a trolley.

Be absolutely sure your potential dand mates have the same idea on what constitutes "acoustic" before you get too far into it. Many an acoustic guitar has been played at earsplitting volume ime.

None whatsoever. Get another of the same 210 and stack tall. The tower of power doesn't comb filter your mids into a muddy mess like a 410 does. No strain loading in and out. Much win.

So you might just about be able to remember your lines? Seems like a worthwhile thing if the rest of the band and yourself got the knucklehead vocalist to accept his place in the world.

Rasta (1983/1989 reissues) — some versions list Benjamin Obadiah Zephaniah credited for Bass, Percussion, Vocals (Discogs entries Purloined from AI search.

How old am I that I recall the righteous indignation you posted at the time?

The OP had you using a potentially high output cab that could have been the FOH clarity difference you were missing.

The other thing to do is cut the lows from your stage monitor sound so there is no interference with the PA lows. You could do that by turning well down. Otherwise you need to get fancy with the signal path, or using the main bass amp only as a monitor rather than plugging your bass into it.

You need a tunsten filament and a halogen to make a halogen bulb. Fluorine is not the actual one they use but it would probably go to 11, seemed appropriate for your halogen days.

Imbalance between strings can come from string to pickup distance or pickups themselves. Noise can be from anywhere.

You rehearsed under fluorine lamps?

I did a bit of busking with DB and a drummer. Drum and Bass, geddit? We even did sone D&B inspired musings. I had a few pedals and a battery rig.

If you want a cover on the cheap, buy a sheet of coreflute aka real estate sign board, cut to size and duct tape together. Ten quid.

There's another much bigger surprise bassists thresd, needs merging.

Lucky MrPerpetual showed his stripes early on!

My experience of 50W valve amp is lovely sound, short of oomph into 210 cab when getting above rehearsal volume. A bit of a KoolAid experience after reading about so many slaying drummers with theirs.

The space race was run by the time I was born but VIM was still going strong. By my late teens Mum had found a suitable substitute in plain old laundry powder detergent.

Bass players tend to be the ones giving drummers and guitards rides. These days it's a lot easier to be a motorcycling bassist with the lightweight stuff available. I used to go to jams on my bike with a 210 on the rack and a Ubass.