TheRev

Stentor 1950 or Student/Student 2 basses are decent, in your price range and reasonably common.

You could sand the bridge feet, but it's easier to sand down the top of the bridge. The feet are shaped to fit the top of your bass. If you sand too much off in the wrong place you won't get full contact between the bridge and bass and that will affect the tone.

Annoyingly, I've been so busy with work that I haven't had a chance to use it in anger yet. I'd hoped to compare both side by side at a little festy last weekend, but Phil brought his M32 instead of the Yamaha. From the few minutes twiddling time I got in the Yamaha last month, it's obviously a much more comprehensive mixer than the QC12, and if you absoutely have to have proper faders, then it's no contest. The display on the Yamaha is bigger, so you can have a lot more information available 'at a glance' than you can with the CQ12, but I've found the CQ12 interface very easy and logical to navigate, and pretty much all of the information you're likely to need while mixing on the hoof is only 1 button press away. One thing the A&H does that the Yamaha doesn't, is the ability to multitrack record direct to a 32GB memory card. The Yamaha can record stereo to a USB stick or multitrack via USB to HOST, so it's just a bit more faff involved in using the desk for recording.

Is that your Musima? Noice. I have the cat installed on the treble side of my Musima - it's brings out the upper mids better.

I've (briefly) played a Duke Peacemaker and the build quality and sound was very good. If I was in the market for a new bass, I'd be looking at the Two-Tone or the Duke Special - I've not heard anything about composite basses that would encourage me to pay the additional cost. If you need tough, touring workhorse....that's what laminate basses are for!

The linings, scroll, tuners and proportions look a lot like my East German Musima. Loads of them were imported in the 70s as high school level basses, so they're not uncommon. They're good, solid, ply instruments - real workhorses.

The F-Deck HPF or one of its clones is excellent - but the power bank is a lot cheaper.

It was the S1 pro system rather than the S1 Pro + that I've used. Two were provided for a little open mic stage at a festival I was doing sound at - the volume they put out was unbelievable for the size.

Looks like Behringer's answer to the Bose S1? The Bose is an amazing bit of kit, but it's £700, so it's unlikely that the Behringer will be anywhere close, performance wise. Still, at £200, its worth having a go.

I've just bought one of these, arriving in a week or so. I'm quite excited. Our regular PA bloke has just bought a Yamaha DM-3 so it'll be interesting to compare the two, allowing for the Yam costing twice as much as the A&H....

Did they drag it through the sea all the way to New York?

🙄 I usually sent the FOH a full reange (pre-preamp) signal and use the HPF for the feed to my amp. Then came the gig on Weston Pier where the PA company had put about 8 subs under the stage.... the low end was ridiculous -the soundpersons were backslappng each other about how sick'nbitchin' the bass sound was, while on stage, my bass was vibrating like a rampant rabbit and completely unplayable. Now I only send the non-HPF/full signal to FOH engineers that I know can do a proper job.

For clamping to a tripod stand?

I switched from a Bassmax to Krivo after a disastrous gig (sound-wise) in a pub in Wimbourne in 2015 and have never regretted it. I never liked that annoying mid range honky thing that piezos have anyway... Yes, solo'd, the Krivo sounds less natural but it cuts through in the mix, it goes loud and you can be heard. I've had plenty of engineers (live and recording) and other bands comment on how audible my bass is in the mix and how it pretty much still sounds like a double bass. Not once has anyone complained about my sound not being 'my bass only louder' - at least not to my face.

We book a lot of acts for our festivals through Midnight Mango - the director, Matt, is pretty genuine about bands and music

My amp tone is dominated by mids and treble for this very reason - too much low end and I either can't hear the note with enough definition to pitch properly or I get feedback. The PA gets a full range signal from the DI out on my Fishman pre, then the signal goes throgh the HPF and out to my amp, so it's only me who hears the trebly sound. Everyone else gets the full range signal back from the desk in their monitors/IEMs. My monitor has no bass signal from the desk to prevent feedback. On a decent stage that isn't too boomy, I can increase the low end in my amp enough to have a fairly satisfying, full sound, but otherwise I just suck up the lack of low end and trust it sounds good out front.

This is my setup: Krivo magnetic pickup into a Fishman pre with HPF. DI signal without the HPF goes to the PA, amp out signal goes to the amp/MAS 45 cab, which sits on a X/keyboard stand at chest/shoulder height. A HPF is essential for defeating feedback in my opinion - I wouldn't gig without one.

I sometimes use IEM with a Behringer Powerplay headphone amp running off the 'amp output' socket of my Fishman preamp. The PA gets a signal from the DI on the preamp. My K&M X stand goes pretty high - not head height but certainly chest height.

My first suggestion would be to get your amp off the floor and up to shoulder/head height. I use a keyboard 'X' stand, others use PA speaker tripods. The stand won't have a bigger footprint than the amp itself, so if your amp fits on stage, the amp on a stand will fit on a stage. Next, use a preamp with a high pass filter (HPD) to take out the sub 80hz rumble that is the main cause of feedback. If you're still getting feedback, then mute/block the f-holes. You shouldn't need to change your pickup unless the band is stupid loud, and I can't see how a jazz band would get stupid loud. If, however, the issue is that you just need to hear yourself better, then I'd suggest trying a wired IEM setup using the line out or headphone out from your amp. You can then keep the amp volume low or even dispense with the onstage amp completely and just use a preamp like the Fishman platinum pro to send signal to the PA and to your IEMs

I noticed that with Caspian, though they were on the Yohkai stage - the kick and snare were really overpowering the rest of the band.

If it's heavy gunk, then isopropyl alcohol (isopropanol) followed by lemon oil.

⅖ of The Wurzels are over 80 and still doing 60+ gigs a year. They do look a bit tired mind.

It would be tricky doing Saturday with a melted face.

I don't get back from holiday until early Friday AM, so going on Saturday only. Mogwai, ASIWYFA abd Bossk 😃

I had a SWB fretless for a couple of years, it's now with @3below. Its a great bass - I couldn't fault the build quality, components, finish or sound. Ultimately, I found the neck too shallow for my personal tastes, and I have three double basses, so kinda got the fretless thing covered.... If I didn't have a bass space limit then it would still be hanging on my wall.