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There are a couple UK guys who can fake guitars to the point where they are indistinguishable. It's not a recent phenomenon either. I was looking at guitars produced by Clive Brown 25 years ago that were absolutely convincing. I owned a vintage 60's Strat "refinished" by Clive Brown which another luthier gave me the willies about and I disposed of it quickly to a Jeweler in Portsmouth. He once pulled out a "58 Strat" to a bunch of assembled dealers (I was present), and they all gawped over it until he revealed it was actually a JV Squire he had completely done a make over on. Richard Henry can tell you many stories of the number of "all original" Fenders which appeared in Music Ground (he used to work there) having passed through the hands of Clive Brown. It's always been tawdry, and the main culprits are still at large. 60's is a minefield, 70's seems much more safe as they haven't moved on to those yet.

I do hope so Chris

Stanley Clarke - School Days Stanley Clarke - Stanley Clarke Jean Luc Ponty - Cosmic Messenger

Hi Lozz, adrenaline will get you through.

I could use two extra stands if anyone has any spare and can throw them in their car.

No, they also get all those moments in between songs and when the singer is trying to introduce the next song.

always late to the party, me... :rolleyes:

Excuses. Get yourself one of these, man (I mean the keytar, but if you can afford a Stevie that could work well too)

With a soundperson at the desk, no problem. They can adjust on the go and get a decent mix by the end of the first song. However, if the band is doing their sound themselves... a linecheck is nowhere near enough: it only tells you you've got a reasonable signal but nothing about the mix. Puerile egos are always an optional bonus

option #2, no question Sure, keep it short etc, but you've got to make sure you have a reasonably balanced mix somehow. I'd argue is far less professional to sound like crap.

Goat West - The Pet Shop Boys

Pole piece spacing maybe? Or maybe the casing size? Fenders sometimes have different size J pickups.

Confusing isn't it? The simple answer is that most amps nowadays are using pretty much one of two or three power amp circuits and just about every manufacturer offers a class D amp which gives 300W into 8ohms and 500W into 4ohms. They don't all sound the same but all of them will be loud enough into almost any but the smallest speakers and most speakers will be able to handle that power. The straighforward answer is that you can choose from any one of those amps and you wont break the 4x10's you are using in the rehearsal room. When you get to gigging any one of them will do the job with 90% of the speakers on sale. If you are using a Peavey 4x10 you don't need to use a Peavey amp, any brand will do. I like and own a Peavey Minimax whch has a good range of sounds but the best thing you can do is try a few of these amps out and see if you like them. We all have different tastes. If you want a simple version of the technical stuff then try this. Some speakers are much louder than others with the same amp. This is measured in how many decibels of sound you can make with one watt. Most bass speakers will vary between 90db/ W (not very loud/efficient) to 103db/W (loud) Each extra watt can only add to that sound level, ten times the power adds 10db and doubling the power adds 3db, so a 100W amp with add 20db to whatever the one watt figure is and 200W will add 23db. To work out how loud a system will be you need to know the power of the amp and the efficiency of the speaker. Either on its own won't tell you anything, you need both numbers.

The slab board would be the biggest giveaway for me as a non expert

@rwillett I'm not sure what she'll do but we might bring one of the mutts along as I'm sure she'd like to have a walk around the lovely countryside. I'm sure she'd like a slice of pizza but I did promise her a Greggs veggi sausage roll from the service station en route! It's a shame that I have this operation and I'll probably won't be able to drive. Otherwise I'd bring the campervan up and make a weekend of it. Sadly, it's something my wife won't drive due to its size.

Tough situation, but the very very best guitarists I’ve played with ( and drummers ) have not been loud , in fact , they have been surprisingly soft and we always try to crank them up in the mix . I am in a similar situation, good mix in the rehearsal room , but come gig time , and suddenly the guitarist brings out the heavy artillery and we can’t hear the vocals , the drummers beating the hell out of his kit , and I’m staring at the ceiling hoping it doesn’t sound too krappy . As Steve says , I just suck it up , as bass players are easily replaced .

So would the exercise be a way of getting some cash back but maintaining functionality you need, or are you looking for something else from the Anagram? I've snapped back to my senses somewhat and realised that the QC does everything I need and risking a switch to a lesser unit on the basis of its size and bass specificness would be a bit of a risk. I'd definitely buy the Anagram out of the two if I didn't have the QC, but i've not seen anything yet that would justify a switch. I'm more just frustrated at the lack of bass focus with the QC.

Yes,I did see that but wasn't sure what Brian's assertion was based upon? Perhaps a confession from the seller, or more photos not posted here?