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Agreed with the above, a full but brief sound check every time.

Reckon it would even make Dave Gilmour wince.......😆😆

Looking at the itinerary for our next gig in Rotterdam on 18th may we have 2 hours scheduled for load in and soundcheck. I can't imagine ever doing a gig with just a linecheck but then I suppose I'm playing a different kind of venue.

I suspect that at least some (if not most) of them were empty lightweight boxes just for show. There's nothing wrong with having an image and the wall of cabs is almost mandatory in some genres.

Option 2 every time. You can't sound check at low levels as you won't hear the low end. You have to sound check at gig level. No need for 5 minutes though! Line-check everything then do 30 seconds of a section of a song where everything gets used (IE don't check the verse without BVs, check the chorus with BVs).

Just revisiting this thread. When this auction ran and it's selling point was 'it was used on All Mod Cons' I thought Bruce had replaced it after that. I especially like the one he used on the Trans-Global Express gig from 1982 that was filmed and released on video. Upon closer inspection it is the same bass unless he also modified more than one black/maple P the same way. Assuming he didn't THIS is the Bruce bass to own.

We have a difference of opinion in a band I'm in and was interested in the general consensus on this matter. I will try to state both side's case neutrally so as not to sway the argument. The scenario is that in the venues we play (pub and social club) there will already be people in the room when we are setting up. The question is whether we should carry out a full volume soundcheck before we start playing. Only the three vocals and keys are going through the small PA. The drums, two guitars and bass are not. The arguments are as follows: 1. As there are already people in the room, it doesn't look/sound very professional to do a soundcheck before the gig start, especially at full volume. We will still do a check on each of the instruments individually. As long as we keep the levels the same on our amps gig to gig, then there should not be a problem. 2. A full soundcheck should be carried out at all gigs to ensure that the sound is the best it can be. It is more professional to do a 5 minute soundcheck before the gig to ensure all levels are good than it is for the sound to not be balanced or too loud for the whole gig. All opinions welcome!

Honestly... to avoid doing this myself for a wedding gig in Riga and having to ship a bass, I've bought a cheap Harley Benton P and got it shipped straight to Latvia by thomman, some less honest or more hard up folk than I might say you could use it then return it ... under their no quibble 30 day policy. https://www.thomann.co.uk/helpdesk_moneyback.html Im either going to keep it too noodle at our flat or put it up on the local equivalent of Facebook Marketplace for half of what I've paid , as once I'd looked into the cost of " luggage" costs their and back a case insurance and package material it was getting pretty close in price.

Your Kiss Is On My List - Hall & Oates

<yawn>

Inexpensive? Look out for a used GenzBenz Nx2x12 cab. Approx £350-£450, 600W, 4ohms. Job done.

I think you hit the nail on the head in your post. Its subjective. People like different stuff at different times...even the same time...for different reasons. Red also made a valid point which is almost certainly correct (IMHO anyway) about a sensible use of band cash would be sacking the backline altogether and paying an engineer. However, lots of people still use Marshall stacks in unfeasible multiples. I've been following that heavy metal band from Doncaster (can't remember their name) who've been supporting Airbourne on thier European Tour. I think I counted twelve stacks (so 24 boxes) which most of the time they seem to have to carry in and out of the gig themselves. None of this is rational. At all.

Good score. These were broadly mid '80s - mid '90s, made in Korea by Cort, and very nice quality. Lots of P/J versions turn up but not too many single Ps around.

Following this with interest - currently using a Kemper Stage and this looks easier to change on the fly in a combat situation...

That’s exactly what I thought. Sure looks like his jacket is covering part of the headstock.

It's one of the joys of a digital mixer that you can set this sort of thing up at home then store it and try it out at rehearsals and gigs without having to risk losing your tried and tested set up. Just as phones have trained us all to be better photographers I think digital desks are going to train us to try things and become better sound engineers as a result. Imagine setting this up on an analogue desk and having to physically recall settings with bits of tapes stuck to the input strips