EBS_freak

That is a good point. As soon as you start going north of 500 quid, you'll see most speakers SPL jump from being 120 something to 130 something. 130 something is what you want for something loud. In terms of how low you go, well the frequency figure at -3dB figure is what you want. Remember though - as stated earlier in the thread, flooding the stage or room with those B and E string fundamentals are probably not what you want anyway - as your mix will soon become awash with subby mush. In reality, only in the biggest of rooms (which are either pretty dead or full of people) can you get away with large amount of sub bass. In short, if you spend the equivalent amount of money on a PA cab as you would a decent 2x12, you are going to more than OK. The RCFs are by far not the only cab that are suitable for the job. I know a couple of guys that are using DXR15s for example, to do similar. Don't just buy blind or take my word for it - these things are far easier to find than boutique bass cabs. Give it a go.

But what sort of monitors were you using? Like above with Metallica, the right monitors would be punching your teeth out. If you were using knackered old cheapo monitors (let's face it, most venues monitors are crap and in terms of personal PA, monitors are always where the savings are made) then of course you won't be getting the result you are looking for. Similarly, if you were to replace your rig with a meaty FRFR, there is zero reason why you couldn't get the exact same experience with one of those behind you as your existing rig. With all due respect, it sounds like you are in the camp of, "yeah, tried that... rubbish" when you haven't actually tried what this thread is about with gear that is actually up to the job. For example, you talk about carrying extra subs (because everybody just goes out and throws extra subs into the mix just like that when you change your backline) but if you were using a decent FRFR setup, you'd realise that a lot will actually go lower and louder than bass cabs... so if you don't need subs when using your bass cab, then you don't need subs with your FRFR. Please don't think that I'm having a go at you - I'm just standing up for the technology - and I just don't think that you've given it a fair trial and I don't think it's fair to run it down as a solution that others may be interested in based on your, what appears to be, limited experience.

Can't talk for the QSC but the 735 and 745 go low and loud... more so than most tops and can be used is most small venues without a sub. This is the point that I am making about the speakers in these cabs. You just don't get these large voice coiled speakers in abs cabs.

So what is it that you tried as an alternative?

The RCFs 735 and 745s are great due to the quality of the speakers that they use in them... (there's literally nothing else out there at that price point, especially in lightweight non wood cabs) The only perceivable downside, is that they don't look like a bass cab... I don't know if that's important to you or not. I know a couple of people who have made faux cabs (just a frame, with a vintage cloth over the front and black tolex and the hardware) that has the PA speakers inside. One guy I know lies the cab down inside so it's in the wedge position... so in a traditional setup with the amp behind you, at least you have a better chance of hearing everything when it's pointing at your head! There's loads of ways that you could use these setups... as I have hinted to earlier, I favour the FOH doing all the work... but a decent PA cab could serve as both an excellent wedge for pointing back to you (with the mix of all the band in it also)... or excellent backline when it's behind you and you need to rely on just that to get your bass heard. Both cabs mentioned are readily available at places that deal with PA... for example, if you can get yourself to a PMT, you'll be able to play through the Helix and both the RCF and QSC offerings... and see what you think, after all, it's you that the setup has to convince!

So the question is... warrants a signature bass... or not....?

Stick with it. People are scared of change... or haven't given it a fair crack of the whip to even comment. The "Oh yeah, I've tried IEMs and they're poo" (with freebie phone earphones), is a particular bug bear of mine. Guess what? Yeah, I have intimate experience of traditional back line too. I took a 10w 1x8 amp on a gig too. Awful. I couldn't hear it, there was no bass response. Anybody who would take a bass amp to a gig is an absolute idiot. Funny, isn't it? PS for the record, I used to gig with traditional backline. My last rig I bought was an EBS, with 4 2x10 cabs (hey portable 810 rig - how rock n roll!). I would sell them, if they were worth anything!

Shh! He's tried it - and it's rubbish. The justification is there in black and white!

You mean, you've never heard of Tye Zamora?

Ahem. Yes, that is the word Fender on the headstock.

"Tried this" What is it that you've tried? Using what?

Just kidding. Everybody can clearly see that the above amp is not gig ready. No. Thats why we need this - Bloody love that tagline! Couldn't be any more appropriate, right?

Hear me roar!!!

You'll tend to get interference being registered on a lot of audio devices. It's whether it audibly drops out or not that counts!

A back up in such high profile gigs are always a good idea... after all, IEM units can run out of batteries, or get signal loss if the RF environment is particularly hostile (or if somebody in the audience sabotages them with rogue RF transmission!). Of course, in most situations, the licenses are granted based on that fact that that area of the radio spectrum is free enough to deploy the amount of wireless required - this greatly minimises the risk of drop out due to RFI. Should probably mention that Metallica are probably using dual diversity IEMs - meaning there is less likely to be dropouts. I'm not sure what wireless they are using.. I'm guessing something like a Shure PSM1000 or Sennheiser 2000... I shall see if I can find out. EDIT: Looks like the Senn 2000 was utilised a while back - but dont know if thats still current. I would imagine they would try and keep on the same brand so the engineers can distribute the frequencies remotely over the network... I say this cos it looks like they are utilising Shure as their receivers in the racks. Should probably mention, those Meyer monitors are serious pieces of kit. One of those Meyer monitors would probably buy you two large boutique bass rigs. I seem to recall that Metallica actually developed these wedges directly with Meyer - I think that are 2x10s... which is quite an odd setup for a wedge.. but don't quote me on that one!

The main issues are going to be this - The amount of phones in the audience that are in the audience with wifi enabled The amount of wireless that is in the venue on 2.4Ghz. The amount of metal that is present in the area and the receiver and transmission location in relation to large blocks of metal The power of the transmissions that have the potential to directly interfere (e.g. exact same frequency or frequencies that will cause RFI due to intermodulation) with the portion of spectrum that you are using with your wireless. The proximity of wireless transmission sources next to you receiver The proximity of devices that generate interference to your receiver... e.g. mains, faders, transformers.... I don't know the event at which you were using your wireless - but wireless co-ordination at large scale events can be very tricky! In the pro world, 2.4Ghz would never be used. 5 Ghz would tend to be avoided also... but more likely to be interference free due to more channels being available without running into intermodulation issues... there is however, a trade off (assuming like for like power output) of propagation and range. Generally, digital wireless for instruments and mics would be deployed over Channel 38, or using frequencies that have been licensed to a venue or have a time limited license for a special event. Wireless iPads are used now and again to aid mixing - but thats usually done before show time, where the risk of RF interference is lower. At show time, FOH and Monitor world will be behind their desks... or minimum, a laptop with a physical cable to the control network. For most people, 2.4Ghz and 5Ghz are going to do the business at most venues (although you may run into issues at say conference centres or hotels where there is likely to be a lot of wifi) - and of course, the big plus is they are license free. Channel 38 systems will usually solve all RF problems... HOWEVER, if you factor in the license and the cost of digital units that operate outside of the 2.4 Ghz and 5 Ghz frequency ranges, then you'll see the cheaper solutions are a good fix for most gigs... just don't rely on them without a backup cable!!

Metallica are on AxeFx2 I believe. Oh... and in ears... although to be completely transparent with the regard to the discussion happening here... they do have Meyer wedges pointing back at them... The key thing is, the wedges are pointing backwards... and not into the mics, so no bleed. Oh -- and they tend to be on large stages too.

Well.. if folks are gonna be chatting chuff...

Funnily enough, I had a look through the rosters for the 3 big players for in ears... http://pro.ultimateears.com/whos-using http://www.64audio.com/artists https://www.jhaudio.com/artist_roster Just look at all those rock acts that have been killed by using inears. Jerry and Vitaliy should be disgusted with themselves. They've almost single handedly killed rock n roll... and thats not even taking into account the impact that I've had! I'm sure the day that Jerry Harvey handed Van Halen the first of his inears for them to use, the bowels of hell rumbled in despair.

It does certainly sound like you have some dodgy IEC cables going on... although it's quite rare. Maybe the cable is giving up through years of being flexed?

That's all personal preference. There's nothing wrong with plugging your bass straight into the desk. There's nothing wrong with using amp and cab simulator on a digital desk if it has one. Maybe you want a preamp straight into the desk. Maybe you want a preamp into a cab simulator into the desk. I like the Kemper because it covers off my bass and guitar needs and has a plentiful supply of fx. Im really happy with it. I know the Helix well too... I would be really happy with that too. These both give you the full blown rig simulation. I actually really enjoy going through the PA without any cab simulation. I personally would like to craft in the sound of the cab via EQ rather than use the emulation. On guitar however... cab simulation for sure. On the Kemper, I use a Focusrite pre into a SSL desk profile. I love it. I tend to use a Chandler LTD1 preamp profile. That's amazing also. Of course, I then have all the inbuilt fx at my disposal via the remote. Yes, the Kemper is expensive... but if you were to ditch your whole setup (including pedal board) for a Kemper, you may find it more competitively priced. If the Kemper is still too much, the Helix... and especially the Helix LT will still get you awesome results. I had used an EBS microbass 2 straight into the desk before the Kemper. That was great. I had used my HD350 into the desk before hand - without using the power amp in it. I liked it... but the Kemper could do the same and more. The Sansamp Q strip really appeals to me... it's tone shaping is similar to that found on traditional analogue desks... but having said that, all that and more is available directly by plugging into most mixers. The key thing is, you can get "your tone" via the direct route... there's plenty of EQ in pedals, modellers and the desk to get you there. If theres must have pedals in your chain, simple... just leave them in as you would do going to an amp. Going analogue but still want a speaker sim - easy, there's plenty out there... but most of them are a take on EQ anyway. If you want to look at the more boutique speaker emulators out there, guys like Two Notes Engineering is probably where you should be looking at. http://www.two-notes.com/en/torpedo-cab - their stuff is pretty cool stuff.. and easy to deploy in a pedal board like manner. The thing is, we are pretty spoiled now. A few minutes on Google will show you whats out there... there's certainly lots to choose from.

Lock up your amps people, I've taken rock and roll... the backroom folk clubs are next. Ha ha ha ha. I'll get you all in the end.

A bit like Brian Johnson's hearing.