Muzz

We regularly pull £100 a man for 2 x 45 (well, we do more, but not much more than 2 hours) with a break, so this ain't good money. It is more regular, though, so I'm guessing he's after young desperate pros, or wannabe pros...

We have a pair of RCF 310s and one sub, which is enough for bigger four-piece function gigs (kick and overhead, keys, acoustic guitar and vox, sometimes bass), but for pub gigs (unless we know it's a particularly big/loud gig) and for trio stuff we just use the tops. If you're not putting the drums into the PA, then they should be fine... Edit: Eeeek...ours are 710s...sorry for the bum info, tho I'm sure the 310s would be fine, too...

Really looking forward to trying one out: the danger being that if I really liked the sound of those pups and the body was nicer than my current Epi body, I'd be buying one to hack the neck off and Fenderbird it...

[quote name='drTStingray' timestamp='1501060423' post='3342089'] If your cover band is anything like the ones I play in you'll require a range of sounds and techniques...to be more than adequate you will need possibly a little more from the bass in your hands - in my experience On board EQ 2 pick ups ...mid range control are the main ways to get the variations needed to enhance your own technique to get the range which is desirable. [/quote] Apologies for butchering the quote, but that's about it from my POV, and I play in a band with a wiiiiide range of material, from Johnny Cash to Nirvana to By Jovi to Bruno Marsbar to Luther Van Doodah. A pair of PUs and my onboard EQs (all John East U-Retros, seeing as you're asking ) can scoop, honk, bark, growl or even drive the amp to grind, all from the bass(es). After that, it's down to me to play it right...which is the biggest variable...

[quote name='dood' timestamp='1500819916' post='3340355'] TLDR, but what I feel is way more important than your set of songs, (after all you probably have over 40 corkers to choose from) is the ability to read your audience. Know the demographic and the reason why they are there, then pick songs appropriately. A really obvious example: You want to keep them on the dance floor? Know what songs will kill their groove. - I mean, I am assuming that we are talking about a covers / function band here! [/quote] This, + a lot. The band leader for a good covers band (if they have a variety of material to work from) should work like a very good DJ, and the setlist should be able to be called on the fly if it's one of those nights. We had a thirty-ish song setlist for last Saturday, and ended up doing almost half of it from the 'backlist' as some stuff was going down massively better than others. We routinely shorten songs (one we only did one chorus... ) that aren't working on the night and move on...

Another +1 for the Positive Grid software - I run mine on my iPad with a Line6 input box and headphones, but powered monitors would work fine. Cheap software, and lots of great amps/tones/fx, plus the ability to shift key or speed of playback independently, if that's needed. The Bias FX package is verrrry comprehensive, too: I've only really scratched the surface of it...

I had a RH450 for a couple of years, and yeah, the presets are very useful - I used it when I needed a range of sounds for the function band, and it worked well. Still the best feature set of any of the amps out there (built-in tuner, compressor, etc, etc). The footswitch rounds it off (floor tuner display, presets, mute, etc)

Crack on, don't worry about it - it wasn't too long ago the shoe was firmly on the other foot, and pick players were looked down on...thankfully we've all moved on...

As mentioned above, a Super Twelve T will do the trick. Or a BB2.

Trace heads can be had cheap (if you can't borrow one), it might be an idea to try one through the Super Twin. You can always move it on if you don't like it. Then again, if your Precision punches but your jazz doesn't, it's hardly gonna be the cab...

Well, it says 'double splitcoil', so I'd think so. Contact Delano - I've done it before, and they were very helpful.

[quote name='Earbrass' timestamp='1500306863' post='3336813'] That's a lot of hazelnuts. [/quote] Well, I enjoyed that one, at least...

Gutted for you - I'll keep my eyes open Northside.

That looks very like a T-Bird Studio to me. I'm quite enjoying the 'slightly high' action

You don't mention the all-important (well, for gigging, anyway) PA situation, but I'd say in very general terms a 50s/60s rock n roll band in pubs and smaller venues should be doable even without PA support with any one of lots and lots of heads like you've mentioned and a 212. For bigger venues you'd want to be looking at going into the PA as well (my rule of thumb is if there's more than just the kick going into the PA, then I'll go in, too), but then you're not buying that

Hokay: firstly, that's a great looking bass - Fenderbirds FTW - but I can't see if the pickup has the MM 'ears' or not - I'm guessing you don't want to start routing. Secondly, if it's already a Kent Armstrong, I'd go with the advice above and contact them to see if they'll rebuild it as a Split-P type: I'm sure they would. Having said that, I can see the Bart pickup allows for split-type both forward and reversed, plus all four coils, with a three-way micro switch. I'd be tempted by that... Position-wise, there's plenty of resources a Google away that'll give you the exact position of a P-pickup. I'd say anywhere within 20mm would be pretty close. It looks quite close judging by the pic.

The P-bass sound is as much about positioning as it is pickup construction. If the Musicman pickup you have is in the same place, then it might be worth looking around, but if it isn't then you're compromised to start. There are soapbar pickups which are P-type pickups underneath and sound very very like P-pickups (the EMG P-35/40s I have in one bass, for example), and I've a Nordy Bigman which is a MM shell with two Big Singles in it, and one of them can get close, but it'd only be close if it's under the right bit of the string... Other then that, I don't know of any offhand, I'm afraid.

I tend to sound like myself no matter which bass I'm playing, or which room. Or even which amp, really. Whether that's a good thing or not is entirely subjective I don't have a single tone - I have tones I like personally, and tones which work in the particular song. When it comes to playing live, though, there's so many factors affecting tone/sound everywhere from right at the amp to out front of house that I don't sweat if I don't hear my bestest tone/sound as long as the band sounds the best it can in the circumstances. It's all a bit of a compromise, really: I don't think perfection is ever really achievable anywhere outside a recording studio, and even then I've done that and it's not been perfect.

One of the best sounds I've heard in a good while was Blackberry Smoke at the Ritz in Manchester. I was standing near the desk, and I watched the sound engineer adjust a very few things during the first song, then pretty much stand there with his arms folded the rest of the gig. BS have gears, and they took the band sound up and down, from full-on rawk to verry simple and quiet, from the stage itself with guitar volume controls (yep, them ) and their hands. Then I went to see Alter Bridge at the Arena, and it was literally painfully loud at the sides of the Arena, and exactly as above: stupendously overloud kick, and indistinct rumble instead of notes from the bass, and everything else was a buzzsaw. Horrific: we left about halfway through. Which was odd, as the support bands sounded better (quieter), although the inherent kick/bass problems were there, too...

[quote name='dood' timestamp='1499797647' post='3333714'] I really want to stack three Berg cabinets on top of each other to see what it sounds like!! 2 ohms all the way! [/quote] Hem hem...you only need down to 2.67 for three 8's, but they do sound gooood... Well, did... [sharedmedia=core:attachments:219208] FWIW, I'd also think that the power module in these is at least a variant of the ICE one used in lots of the newer Class Ds... Edit: Yep, if it's anything like the one in my Magellan, it's very....hefty. There, I said it...

I've sold basses through Bass Direct, and in one case there was an offer lower than the asking price. I was emailed to ask whether this was acceptable, we discussed the resultant final figure and I agreed. It was more than a £30 drop, though. I've not encountered the £30 fee for photography, but then my basses have always sold. Perhaps they've been stung by people using them as a shop window and then selling elsewhere: I've seen basses advertised as 'also on sale at Bass Direct', and their pictures and listings are always good...

I've sat/leaned on my BF cab(s) plenty without giving it a thought. In fact I've never given a thought to sitting on any cab. Nor have I ever encountered anyone who has given a thought (other than manners-wise) to sitting on any cab. It seems a spurious worry to me. Next we'll be discussing how flammable BF cabs are...

To be honest, it's never crossed my mind, and I must be 75 gigs plus so far with BF cabs of various types. I must just be the trusting type...

I've said this before, but like it or hate it (and I suspect most will hate it), they're the singalong band bar none these days. I see it most gigs... And I'm still with his brother on Liam: “He’s rude, arrogant, intimidating and lazy. He’s the angriest man you’ll ever meet. He’s like a man with a fork in a world of soup.”

Schaller 3D all day: as has been said, the lateral adjustment is really easy and if, like me, your right hand spends any time on the bridge, it's very comfortable.