Muzz

Yes - Shukers, Thunderbirds, Split coil pups, Maple boards, ebony boards, exotic wood, John East Preamps, Elixir strings No - Jazzes of any variety, singlecuts, rosewood boards, anything over 9lb, fivers, sixers, nuts over 40mm Other than that, I'm open to suggestions...

It all depends on how loud/thumpy is 'enough' for you...but I use a Rumble 100 in the acoustic (guitar) trio with a drummer, and it's enough when I tilt it back for me to hear myself onstage, although I'm looking to fit an Eminence Beta 12 to give it a little more. It's certainly light and convenient enough...

Awwww Lozz man, yours were some of the most inspiring 'How Was Your Gig Last night' posts, it must be tough to have to call it a day on that one. All the very best for the future, I hope you can find a compromise band/gig that is still fulfilling without being as punishing as the pretty much full time stuff has become. You have the satisfaction of knowing you've done it all, though; you've achieved an awful lot and you've left it on a high...

It depends on the room size - I angle my cab (when I'm using the small cab) in small spaces: your cab on the floor is all good if you've several feet between you and it, if it's right behind you (and the drummer's very close, too) then it can be very hard to hear...

Yup. I have one of these... 🙂

I've had a BB2 and several other BF cabs, as well as a good range of other boutiquey stuff like Bergs, etc. Not used (or even heard) a F112. I played an RAF hangar with a single BB2 once, with no PA support, and it was bonkers how much it put out for the size. The only downsides were that I don't get on with horns (I have a ST/Compact modular/stack arrangement now*) and the very small size of the BB2 onstage meant there was a lot going past my knees, so I can see where the F112's wedge would be useful. There's plenty of good small cab wedge stands out there, though, so I'm sure the OP will be all good. * Tho there's a pic in the Show Us Your Rig thread of a twin SC stack which is twitching my cab GAS for the first time in yonks...

This. All of it.

I'd forgotten the 1100S came in white - sadly (tho I have previously admitted to being as shallow as a puddle in this regard) the aesthetics are as important as anything in the selection of any possible upgrade, which rules out all the new range, but I'll have a look at that 1100S...it'll be dependent on weight and neck profile...

Just a quick update on the reunion gig which I'd bought my white 414 for...it was a blinding success, and the 414 was perfect. The best bass (for the money) I've had since my old £75 BB300 back in the day (which, ironically, was my backup bass for the BB3000A I had in the band 30 years ago). We've got some more gigs on the back of the reunion one, so I'll be needing a white BB for some time to come. I'm just wondering what I might upgrade the 414 to (I tried a BB1024, but didn't like the neck as much as the 414 (too big), so it got sold), and if I really need to... 3000As are now daft(ish) money, and I'm not sure about the neck profile of the 2024s...

Wouldn't that make it an Extra Road Worn one? 😀

I've got a lead from OBBM on here which is a dual 1/4" and 3.5mm one, which, before I had a wireless pack and receiver in the PA rack, I used to run from a headphone amp on my rig. you just plug your inears plug into the 3.5mm socket at one end of the cable, and the plug at the other end into your DG headphone out. Definitely the cheapest way to get bass monitoring to your ears...tho you'll miss some of the main band sound, possibly. I still think the drums and the bass should be balanced on stage, tho...if the drummer's louder than you are, then won't the moaners start on him...no matter how cute he is?

That bottom picture has the body language of a bassist thinking "Oh, no...what have I brought this for?". My sympathies: anyone who has more than one option for a gigging rig has been there... 😕

There's your issue; keep your SC, take your £1k budget down to a beauty salon and get them to do what they can for a grand...

Thanks Bill; the speaker I'm looking at is an Eminence, so I'm hoping it's not all completely made up...

I think this one might benefit a wind back from the giddiness of new kit*....is your drummer amplified at all? I'm reading he isn't, so he's the limiting factor (one way or the other) in the band volume. Earlier in the thread, you said "But the problem is if it's loud enough for the audience it's too loud for the singers, when it's in backline." So how loud do they consider the drummer? If you position your backline close to the drummer and set the levels so that the rhythm section is balanced (dunno about you, but we always start the sound check with the drums, then balance the bass with that, then add guitar/keys/vocal on top of that foundation), would the singers still complain about you? Why don't they complain about the drummer? * I knowww...contrary to the spirit of Basschat, I know, but bear with...

Much as the title suggests, does anyone (and I'm thinking of our more technically adept contributors here) know if a higher sensitivity speaker has a trade-off in another area? This is prompted by my consideration of a replacement speaker for a 12" combo (which has good feedback from folk who've done it, so I'm not fretting too much about the actual speaker's suitability for the cab) which is IIRC 5db higher in sensitivity, and so should produce more volume per watt than the incumbent factory effort. Does this come with a downside?

But...but...the logo... 😕😁 I know what you mean about backline, if that's the situation I put my cab close to the drummer, which kinda gets around that sort of 'it's the bass' issue, and makes the rhythm section more of a sonic unit* If you do give it a go, I'd be first in line to hear if it works... * Possibly a 70s Hawkwind album, possibly not... 😁

If the SC gives you a sound you like but isn’t loud enough, I’d be inclined to add another for a more modular rig that’ll cover everything* rather than a cab that needs to be positioned in a fairly strange place: that rear-firing speaker will be a nightmare if the venue/stage shape/size means you have to position it in the tradition Pantomime position**, possibly near a wall... I’m not keen on even rear-ported cabs for this, let alone an actual rear driver. Again, I don’t see a 10” speaker at floor/ankle level giving much monitoring, unless you’re on a bigger stage... If the SC is loud enough, then just wedge it to point at your head: I have one of those kinda deckchair wedge stands for when I’m playing tight small gigs with my 112 combo, and it works a treat...it’s also my cure for guitards who always turn up too loud; point their cab at their head... Multi-monitors for a small pub gig is just daft, and that sort of decision-making was borne out by the balls he obviously made of running it, too... Out of interest, are you gonna run a long speaker cable, or have your amp on the cab at the front? * I’m basing ‘everything’ on my ST, which, with the right amp, will go much louder than any drummer...and that’s all backline needs to do 😁 ** ‘It’s behiiiind youuuu... 😁

So the cab will be front of stage in the way, and the monitor (back speaker) is at the bottom pointing at your ankles? There's a reason monitors are wedges... It might sound '3D' in a home studio environment in splendid isolation, but I'm still not buying this as a practical cab for the vast majority of gigs - if you're out without bass-capable PA, you're in a smaller room, and speakers facing both directions and your cab in front of you indicates (to me, at least) more trouble than it's worth...

Most gigs I love the audience reactions, and I'm lucky to be playing with the best drummer I've ever played with, so even the iffily-attended gigs are a joy. We've also got our gigging gear down to the absolute minimum carry for most gigs, so the heavy lifting and shifting is a thing of the past, too... 😁 That's the covers/function band, the originals band just did a 30 year anniversary gig which was bouncing and a whole different kind of joy. We've been picked up for a couple of big gigs next year, too 😁

Tricky to get the bass sound just right, despite Bernard allegedly using one in the studio...

Yup. Beyond boring. If it was just these new soooper-dooper models, for me they could change the strapline to 'Never play a Fender again'...

OK, before I start, it's worth saying I've loved every Berg cab I've owned or used. This, however, rather looks like a solution to a problem no-one has asked for...a 3 dimensional soundstage? Good luck positioning that in 90% of real-world venues.

In the covers/function band, we have played SOF and Chelsea Dagger and lots of those pub classics, we don't play them any more unless we get a request from the person who's paying, mostly because there are lots of other bands who do play them. As we gig a lot, we keep the setlist freshened up more for our own sanity, there are literally hundreds and hundreds of songs out there which will get a pub up and dancing/singing as long as you play them well. I have to say I've never heard a fellow musician say they wouldn't play a particular properly requested (see 'by the person who's paying' above) song on a paying gig. If it was as a one-off, I'd think less of anyone who did. Oh, and Don't Look Back In Anger takes the roof off every time. If having a pub full of people singing it back to you doesn't give you a thrill, you're at the wrong end of the business.

Nope, doesn't do a thing for me, like a lot of bass solo virtuosos. I also think his influence is overestimated (not difficult with some of the hyperbole given out) - yes, he influenced a lot of players that followed him (and strove to sound like him - that parpy back pickup stuff), but not many of the bigger players I like. All IMHO, YMMV, etc, etc...