Jack

Completely agree but they cancelled the best set with the heavier outers and lighter middles. I'm a sucker for balanced tension.

The Olympia 45-100 ones are bloomin' fantastic. And only £18 last I looked.

Someone best tell DemonFX.

You're kidding, right? I know there's been a rush on prices for all basses* recently but Stingrays have over doubled in price in the past 3-4 years. * all things, to be fair

The only thing I pan in foh are our two guitars and even they are just barely. Just to get a little separation really as they're both quite similar tones. I try not to decimate their sounds with too much EQ, but there's a mid cut in different places on each guitar and a slight pan just so they're don't fight quite so much. To your second point, we use a Behringer xr18 with six aux outs. Three are mono for the two guitars and drummer iems, one is for a very seldom used stage wedge or front fill, and the last two are in a stereo pair for my iems. There's a stereo EQ inserted across the aux bus to allow me to EQ for my dodgy ear.

I'm running stereo IEMs but only really because I have some hearing damage in one ear (no, not from volume) and need some corrective eq in one ear only. Since I'm stereo anyway I have the toms, overheads (when used), backing vocals and the two guitars panned a little. It's kind of nice but I have not found it to be the game changer that some people make it out to be. The two caveats are that I have never used mono IEMs, and that my one-eared-hearing-damage might negate some of the stereo effects for me.

Indeed my post reads as prescriptive when it's my opinion, sorry about that. You said "those were all decent" and even though I haven't tried those exact units I totally believe you. I haven't heard a difference in sound between any wireless units except my Lekato ones which do sound noticeably compressed in the lows. Honestly they're all mostly good! To me the Shure units bring a few extra features and 'quality of life' stuff which may or may not matter to you (the royal you, not @Al Krow!) and may or may not be worth the extra. I don't think they sound any better than for instance my Line 6 G30 did and even if they do you wouldn't notice on a gig. I just like things to be all plugged in and pre set up. I'd lose bugs or stand on them or something.

Oh come on, what's going here? Again!

I design training for a living. Say what you're gonna say, say it, and then say that you've said it. If something is worth saying it's worth saying twice. Yeah I reported my own post immediately, sorry guys. 🤫 I know you're poking fun but genuinely I've had (off the top of my head) a Line 6 G10, G30, G55, a Smoothound, some Lekato bugs, and now these. To be honest they're all broadly fine but I do think the Shures are a step above the rest. I have literally had one dropout in 5-6 years, the format is great, the thing is well built, the tuner means I don't have to waste a helix footswitch or have a separate tuner on my analogue board, you can trade latency for stability if you need to, the batteries last forever (and are replaceable when they stop lasting forever), it scans for the best channel automatically, etc etc. I think that at some point soon I'm going to get a Quad Cortex and when I do I will probably upgrade to the new GLX+ as I think the input jack is a great idea and something I've missed in my current setup but I'm in no hurry. I've had these boards for 5 years or so now and I just don't want an 'interesting' rig. I want to just have stuff work and focus on playing, which I find hard enough! £300 used or £500 new is admittedly a lot of money but no they are not overpriced. They are expensive and worth it. The only thing 'above' these are the proper pro units costing thousands.

Just for the record you can replace the batteries on the shure units. It's the same one used by most if their wireless mics and very readily available. Go glx, by far the best consumer unit. o

I know you're sorted now but for years I've used an aldi copy of a Stanley fat max. Holds everything with room to spare and it's pull along.

It's weird at the moment. I certainly feel as though it's getting harder and harder in pub gig world, more bands playing in fewer places, and the places that are still going are barely holding on. I've definitely done plenty of gigs recently where I've thought that we won't have brought our fee back into the pub in terms of extra drinks sold. On the other hand it seems as though function work is getting more lucrative and there are more opportunities. Every wedding is a debt-inducing 3 day affair at a luxurious country house, every awards ceremony needs to have the dancefloor and every office party has a band before the DJ.

I just saw the Ian Allison video where he was talking about these, apparently he had a role in designing them. As a fan of the strings and also the other thing I have to say these appeal to me.

Nice function for Pop Rock Riot last night, playing in The Exchange in North Shields. Knowing it was a good-looking venue I borrowed some camera stuff from work and I've now got 431GB of footage to go through for our next showreel. Joy! 🫣 The setup: The filming: (not as fuzzy as it looks, these are screen captures of the video payback not proper exported stills but it's Sunday and I'm lazy)

Thanks guys, I've ordered some of the ones from eBay and we'll see if they fit with or without modification. Thanks for confirming the thread size, I wouldn't have been sure without a b&q visit to put it against others. I should buy some calipers.

For the record I don't think that our standard rig of 2x 10" tops and 1x 15" sub is "overkill in a typical pub setup". Sorry if I haven't been clear. That's about what we can comfortably 'get away with' and I think a smaller or less capable system would be uncomfortably pushed. I'm a big fan of proper subs whenever one can. Yes, there's usually not a lot of actual bass in a bass guitar (although tell that to someone playing reggae) but there is plenty going on below say 120Hz where we normally cross over. Even if you're Peter Hook and there's nearly nothing going on for bass guitar in the subs then taking all of that drum and possibly keys out of the tops allows them to have an easier time and maybe even go louder on the remaining content. The midrange and the high end coming from the tops will genuinely sound better if the lows are offloaded to a sub. The top is just happier. I guess the problem is that some of us are in death metal bands and some of us are in folk duos so loud and quiet are vague terms. Similarly, we all think small and large venues are very different sizes! It's probably important to remember that the less backline you have, the more work you're asking of the pa. I know it's not just as simple as doing the math but it occurs to me that my last speakers on sticks, vocal-only pa band had 880W and 7 12" speakers of backline. My GK 750W 1001ii with a 1x12 and 2x12", a 100W 2x12" Blackstar combo and an 2x12" AC30. That's an awful lot to effectively replace with two tiny plastic boxes on stands. There are a lot of bassists who would feel that something like a 2x12" is about the minimum you could gig with, that's just bass, and we're asking a similar complement to do everything? Ok, this is rather in the weeds: PA speakers might be higher quality and the whole point is that we're trying to be quieter, none of the backline was ran at 100% in the old days, whatever. You get my meaning, it's still just physics and it can be a lot to ask of a small system. We could absolutely move to more capable tops and ditch the subs for most gigs but we don't own any tops in the league of something like the 945 or the NX32. And yes we could buy some but it's all been hashed out above with regards to using what you have, massive tops being a liability on stands and looking quite obtrusive. This works for us, and I appear to be slightly more in team sub than some on here. Maybe I'm one of the ones running them too loud.

You know now that you say that I'm wondering if ours are 905 instead... If one is a power alley naysayer then it doesn't matter whether the bass is coming from subs in the floor or mains on stands, you'll still get the same amount of comb filtering. Or won't. I'm on your side. Edit - Thanks btw. This band is struggling to find its feet a little, I'm not sure if I want to stay with them. Good to hear nice comments

Subs were chosen based on two factors, firstly everyone in my indie band had RCF stuff already (this was before I had my pair of QSCs) and secondly what was available for a good price within a reasonable distance? IIRC we were looking for a single 18 but when the pair of 15s came up it was a no brainer. Say what you like about power alley, the convenience of one-sub-and-one-top-per-side is great. I think we thought we'd need a pair if we were only going for 15s, but those boxes run on some seriously impressive physics and we nearly always just used one even in that indie band which was relatively loud. Now that they have carried over in to my new project we are actively making a point to be as quiet and as 'modern' as we can so I'm afraid I might not be the person to ask about the consensus. Not quiet in the absolute sense, but quiet enough to not deafen patrons trying to order drinks or annoy the tables of old folks at functions. More bands seem to be competing for fewer gigs (at least fewer good gigs) and at the same time you've got Johnny the Middle Aged Rock God blasting the windows out in a 30 seat pub with a Marshall full stack. Bad form. What I will say is that one of those subs will hang with a decent pair of 12 tops, and to me if you're doing more than that then there's almost certainly a provided/hired pa. We tend to run our 10" 910s at about 3 oclock on the gain control, and then the sub is at unity, so it's a little 'louder' than a pair of good 10s if you are listening with your eyes and looking at the gain controls. But that is the right balance when listening to recorded music. I imagine that we could probably swap a 15 for a pair of 12s if you have a specific reason to want a 12" sub. I would make an educated guess that a similar RCF 12" sub would likely not quite be enough for a lot of what we do, and we'd probably be bringing the pair more often. But I have admittedly never tried. Don't get overly hung up on speaker size though. My guitarist has a pair of Alto 18s from a previous band and the 15" RCFs easily outpace those.

I think we're slowly settling on that, although if I chock my 705ii in for a QSC sub like I think I might then we might go for that plus my K12.2 pair. We've just ended up with a motley collection of stuff that we're trying to get together. The guitarist in this band is also from my mostly defunct hard rock band, and he owns a pair of Alto subs, I have my QSCs and one of the RCF 705ii subs I bought when my indie rock band folded. The drummer bought the other one and he has a pair of 715s. The singer has a pair of 910s and a pair of Headrush 8" boxes, it's all over the place. We're trying to find the ideal combo of size/performance. Aren't we all? We're kind of settled on 2x 910 and 1x 705ii (most gigs), 2x 910 and 2x 705ii (big gigs), 2x 715 and 2x 705ii (really big gigs). Even though I was just saying that the 745s would have been way overkill for me as a bass rig for stage, to be honest a pair of them would be ideal for us for mains as it means we wouldn't need subs. There's no free lunch here. Here's a dodgy phone recording seeing as you asked, but sadly with the phone mic the whumph from the subwoofer is rather under represented and it's a little compressed. Probably useless to judge pa quality. For reference this was a medium/large function room, there's no volume on stage aside from a drum kit, and it was about 95-100dB at the chairs in the back half, more on the dancefloor. 2 RCF 910 as mains and 1 705ii as a sub. No wedges, no amps.

I posted this in the gig thread and didn't notice at the time, but the backdrop here is relevant to this thread. Nirvana, ACDC, Rolling Stones, Prince, etc, some of the biggest artists of all time. Who's that in the top right? 😁

Interesting regarding the 745s. When I downsized from my Barefaced rig I was tempted by the 745s as I kept worrying that any other pa solution wouldn't cut it as a bass amp. In the end I went with a pair of QSC k12.2s (for a variety of reasons over the RCF) and even they're overkill for my needs. I think now I'd buy the 10" model of whatever made the most sense, I've never needed that much stage volume. Funnily enough I now accidentally own a really nice RCF sub, so I'd have been better off if I'd bought the RCF tops as well in the first place. Digital mixers are where it's at man. My hard rock band uses an all Alto pa system (2x TS115 and 2x TS118a), and my pop punk band uses RCF (usually 2x 910a and 1x 705ii but we have options) and if you offered me the choice between the budget Alto speakers with my digital desk or the RCF system with an old school board I could 100% make the cheaper PA sound better.

Gig? Unimportant. Venue? Walls and roof, next question. Audience? Yeah there was an audience. Great, now that the preliminaries are out of the way let's talk about the really important things. I put LEDs on my board. Fiiiiiine, photo of everything else. Post setup, pre tidy.

Buenas. I am trying to install my preferred Dunlop Dual Design straplocks on a bass, but I have run into a snag. The Thumb seems to have threaded inserts inside the bass and the 'screws' that hold the strap buttons in are not screws at all but rather bolts. Unfortunately I can't reuse the same bolts as the heads are too big to sit inside the new strap buttons. Urgh. My first thought was just to go to a hardware store and try to find a bolt with the same thread that does fit through the strap button but it occurs to me that this may already be a solved problem. Has anyone on BC come across this problem and beaten it? Does anyone know the size and thread pattern of the threaded inserts? Can the inserts be removed? Easily? By an idiot? Just looking for any guidance from the Basschat hive mind please. Thanks! Insert Standard pins Old and new fittings Old bolt in new pin

All fine, but as ever it would be wise to remember that BC is not representative of the wider world. It's not even representative of most bass players. Me and my wife go to London most years a few weeks before Christmas. Shopping, drinking, that kind of thing. We sometimes catch a show and in 2017 we saw Metallica in about October time. A little early for us to go down but hey, Metallica. A year or two later we saw that the Muppets were doing a live orchestra show. I love the Muppets, big part of my childhood and an embarrassingly big part of my adult life, so my wife looked at getting tickets and she was shocked to see that they were more expensive than Metallica were. "For f@#@ick PUPPETS". I reminded her that, goths and rockers that we were, if you asked anyone we know personally, they would almost certainly take the Metallica tickets. But if you show the average person on the street a photo of Kermit and a photo of Hetfield and ask them to name the people in the pictures you'll get about 99/100 knowing Kermit and maybe 1 or 2 knowing Hetfield. This is a forum for bass nerds. We might prefer Claypool, Lee, Pastorious or Jackson. Most people don't have a clue who we're on about. Primus never had a Vegas residency.