Muzz

Yep, gotta be good-looking (to me), otherwise it'll go. I might well miss out on some lovely basses to hear and play, but if they don't appeal visually, nope. I'm dreadfully shallow. Possibly

Ooooo, any pics? I love a Thunderbird/Fenderbird... I've replaced a standard MM pickup in a bass not too long ago with a Nordstrand Bigman, which is basically two Big Singles in one casing. I've got a three-way switch which allows either single separately, or both in parallel, and I find this gives a surprising range of sounds from one pickup.

Hilarious. Glad you liked it.

Very rare: that's akin to the definition of a gentleman as someone who can play the accordion...but doesn't. Oddly, some of the more remote country house hotels seem to have the most, erm, problematic neighbours: one we went to, the manager took us outside and said "There's the problem - him over there: he always complains, and the police always listen to him" and pointed to a converted farm about half a mile away...

While I'd like to think venues like the one we played has the best interests of all partygoers at heart, I know that his particular venue (and many others I've played) has issues with external noise disturbance from their marquees, which are pretty much acoustically transparent compared to a proper indoor venue. Doesn't stop them going ahead, of course, and they look lovely on the website, etc... We invariably play quieter at weddings (venue dictating) than elsewhere, and nobody would need earplugs at any of our gigs, but when you can hear people chatting on the dancefloor, and shoes squeaking, it just isn't loud enough, given the broad range of music we play.

It's been 'reliced'...I'm surprised he isn't asking more for it...

Yeah, in theory I guess better than complete cutoffs, and at a reasonable limit it'd possibly work better, but because we could barely hear the speakers, with them being 15ft away at the front of the dance floor and down-pointing (and the band had to set up at 90 degrees to them, effectively down the side of the dance floor), I had to keep walking out in the crowd and under the speakers, only to find the vocals and acoustic (we couldn't put anything else through it) sounded like a very badly tuned AM radio. Much more potential for the band to be blamed for a rubbish sound... It was a very badly implemented version of a possibly workable concept, and at those levels, it simply wasn't a venue for live music beyond an acoustic duo...

We encountered a new one (to us) last week - a compresser limiter: crappy down-pointing speakers over the dancefloor, and a PA set to squish and compress into mush anything over 90db. We made sure the B&G were aware of the limitations before we started, so they weren't upset with us, but it was a tiptoeing nightmare. Why some venues advertise as a live venue is beyond me...well, the money, obviously, but no-one enjoys it...

See my reply to the other thread -

Yes please - I'm just running round trying to find two for me and my lad for Saturday

Oh, I've no doubt it's the way forward, it's just some of us aren't there yet... Having said that, I doubt Ampeg are quaking in their boots just yet...they still seem to be selling plenty of SVT stacks...

[quote name='FuNkShUi' timestamp='1469654537' post='3100158'] Muzz how is it not practical for some situations? Do you use different PAs depending on the gig size? We have got our PA that we use in all our gigs. Might be overkill for some, but it looks the part, and that's what a volume slider is for right [/quote] Yeah, we play a range of gigs, from acoustic duo and trio to three and four piece setups, some with keyboards, some not, so we use more or less PA depending. We also use a range of deps, and getting everyone on board and sorted out can be more hassle than it's frankly worth. With a stable band lineup (hah!) and a more fixed infrastructure it'd be great, but that's just not where we (I) am at the moment. To reiterate, though, it's a great way to play, and if you can get the technology ducks in a row, it's very good indeed.

Yep, I think that'll do you fine - as has been said, the fact that it's a matching cab from the same manufacturer will be the biggest advantage.

Yup, I had the same bass (a BB3000a) from new in 87-88 until a few years ago when I discovered this place. I've since had dozens, and dozens of amps/cabs. What I've also had is fantastic fun buying and trying every sort and make of bass and amp and cab I fancied (and even some I initially didn't) - it's been a great hobby and a journey. And I'm a much better player than I ever was. What's not to like?

I've got an in-ears setup, and it's a very very good solution, but, like an SVT and 810, not practical for an awful lot of my bands/gigs. If you've got all the angles covered, great, go for it, but even when we've used the X18, there's always been a faff somewhere along the line: it takes the whole band to be onboard (hah) with it, and with us there always seems to be some compromise somewhere, so I've always taken my rig 'just in case'... It might just be the people I play with...:/

[quote name='wishface' timestamp='1469641195' post='3099998'] Just to be clear, the TRBX 30 is the 304. The label in the shop said 30, not 304. [/quote] The 304 is the 4 string, the 305 is the 5 string. 30 seconds on Google. They're a good bass for their price range. £290 new, £150 secondhand on here. Go for it.

Rereading the original post, are the 'woofy' comments coming from a gig? The AE112s are rear ported, so there might be an issue if they're hard up against anything behind them, etc. Just a thought...

Wedding gig in marquee at post country house hotel with worst in-house 'PA' I've ever encountered: four down-pointing flat speakers across the front of the dance floor, 90db compression limiter, no monitoring possible, we had to set up across the side of the dancefloor, at 90 degrees to the line of the PA speakers. You could hear people's feet shuffling on the dancefloor. We switched to the singer's solo acoustic set early doors so we could have a look at the in-house setup, and managed to get a bit more out of it, and the gig improved from there. Early finish ruined by the A1 being completely closed at Scotch Corner, the diversions were nonexistent, it took 45 miles and an hour and a quarter to get back onto the A1 ten miles south at Leeming. Pfffftttt... On the upside, I sounded great...

Yep, if it's wooly, it's not the cabs. I'm running three (or two, or one, depending on the gig) AE112s, and they sound really good with my Magellan. They also sound good with my Walkabout.

Yup, I have two sets of moulds: one with the 15s in for going to other people's gigs, and one with monitors in when I can get a feed from the desk. Essential kit.

[quote name='wishface' timestamp='1469208314' post='3096718'] The ones that were in the shops i visited in town today were around £300, i found a second hand one for £280 but it was buzzing all over the place. Id on't know if they are USA ones or whoever. This is the problem I have; I don't know all this secret manufacturer stuff and I don't want to commit to something without being 100% sure [/quote] They'll have been the newer 'Sterling by Musicman SUB' - they're the cheap ones to which I was referring. You won't find a new USA Sub anywhere: as I said, they were discontinued a good while ago.

It's apparently from the METAL world, soooooo... I kinda like it: if you're gonna go over the top, go over the top

[quote name='wishface' timestamp='1469202270' post='3096647'] The 'proper' music man basses are very expensive, these ones are about £300. Are you sure they are better? [/quote] A secondhand USA SUB can be had for £350 or so, when they come up - they've been discontinued a while now. The SUB/Sterling new ones are, as I said, a different thing altogether, a much cheaper bass in every respect. The USA SUB Ray is pretty damn close to a USA Ray (£700 up secondhand) if you're on a budget.

Depends which ones - the USA Subs are basically MM basses with a cheaper finish, they were so popular they were discontinued, because sales of the 'real thing' went down. I've had both, and there wasn't a whole lot between them, certainly sonically. The Sterling SUBs are a different (cheaper) bass altogether.

Depends how many hundred a few hundred quid is, really, and how you're defining 'cheap'. If by 'cheap' you mean low quality, then the MIM Fenders have a good rep which takes them out of that area. there's lots of options, especially secondhand, but again, it'll depend whether you're talking £300 or £600..