Ghost_Bass

Yep, i googled the cab when i noticed that the missing screws were on the outside of the back plate. When i posted i thought they were on the inside. They won't be in there for sure, i forgot to post about it.

Not so long ago i bought a new RCF top for my band's PA. when i was unpacking it i noticed that the screw that tightens the cab to the pole was missing. First thing in my mind was that it may have gotten loose and entered the cab by the port. Took the back plate off and sure thing it was there stuck to the magnet. I sent an e-mail with pics to Thomann explaining it so i wouldn't loose waranty for opening the back plate. There are powerfull magnets in our drivers, it's more likely that they catch the screw rather than letting it fall through the port.

In that case there's a possibility that they may have been caught by the magnet. If i was in your shoes i would be taking out the speaker(s) just to be sure there was any there and avoid future worries.

Easy, the sound in my head is FRFR. See sig for the best gear i've found for the job, no knob noodling anywere, but i can pick any piece of gear and quickly get my sound with a bit of tweaking and, the most important part, 50% of my tone is really in my fingers.

Good job. See if the older screws are all accounted for, you don't want to find out there's one stuck to the magnet after having all the trouble of reassembling the cab. The wax is just an anti-tamper thing. Not very eficient as it broke off without any tampering from you... glad it wasn't sent back under waranty or it could have been a tough situation to handle.

That's the point i was making. He's a bass player and plays the traditional way in bands but if he didn't got out of his way to learn how to play like that he wouldn't have been ofered the gig. It's one of those rare cases where the bass player can take the place of the guitar for the acoustic duo by learning how to use the bass as a harmonic instrument.

Of course the bass is the first to go. The reason for acoustic duos is the money, either the landlord can't afford a full band or the venue is so small it can't support a full band (small space, low income from punters). Drummers can take adavantage of it with cajon if the singer also plays guitar. For a bass player it's harder but not impossible, we just need to learn to use our bass as an harmonic instrument and take the place of the guitar/keys. Here's an example of a band in Portugal that can get away with just a bass and a voice: I don't need to say that this guy is one of the best bass players in Portugal

This gave me a stupid idea. Would using two straps be a cheaper and functional alternative? First strap used in the rgular position, second strap comming from the horn through the left side of the torso, up the back through the right shoulder, down the front to the bottom pin... hummm, still sounds like a stupid idea... i shall try it at home!

Well packed venue Audience enjoying the band and interacting with frontman Great FOH sound and good backstage sound Nailing the set list for that specific audience (we don't follow a set list, singer reads the audience and chooses the songs) All band members having a great time playing with each other Good comunication on stage Finishing after hours with, stil,l a packed venue and audience asking for more Great Gig! I'm lucky to be in a band were we have great gigs constantly. Everybody has his down days but we're great friends that enjoy playing together and have lots of fun doing that, even in a bad day having a gig together raises our mood and allows some problems to be forgoten for a bit of time and this vibe passes on to the audience. I don't take in account the setup/breakup of stage as it has nothing to do with the gig, it's a matter of professionalism and responsability. Sometimes somebody can't show up on time but we just throw some banter at him and have a beer and a laugh afterwars. Pay isn't a factor for a great gig, i had played great gigs for free and not so good gigs for a big pay.

But a Gibson isn't necessarily a Thunderbird!

Tried the Flexsteels on all my basses but came back to the Prosteels. I found the extra bit of zing on the Flexs compared to the Pros made them a bit out of balance. So my reply to the OP is Prosteels.

I can't see the pics!!! I need my daily Yammy fix! Please solve this ASAP

This ^^ I would bet that the top laminate was steamed and bent before glueing to the body. Done properly it will take a big bend without cracking.

If you all go through in-ears there's no need for any kind of bass or guitar rig on stage. Everybody needs to have a decent band mix in the in-ears and ramp up their own signal a bit more for clarity. So the first problem is that guitar player, he needs the rest of the band in his in-ear, you can't all be playing loud as hell so he can hear you through the phones (good in-ears cancel a lot of external sound). If he want's only vocals and guitar in his monitoring he'll be better off with a floor monitor just for that and listen to band mix through stage backline. Drummer is the second problem, does he use in-ears? does he have enough bass in his mix? Finally, the sound guy, he's doing his job the correct way aparently. They don't want too much backline sound bleeding to the front. I think he's the key in solving your problem. Next gig make him setup your amp EQ and volume the way it'll complement the FOH sound (he's a bass player, he'll know how to do it), but have him doing it for the drummer and guitar player. They should be the ones talking with the sound guy and deciding on volume. Say that you don't care about the sound as you're using in-ears. Place the amp between guitard and Drummer if you have to. Make it their problem, not yours. You'll be happy with your monitoring either way. Regarding the size, if you're carrying it and have enough van space it isn't a problem. If you find that you need something more compact but with enough low-end to sound like a subwoofer then you can't be wrong with an AER combo.

Don't hate any song but asking me to play With Or Without You is about the worst thing the worst thing somebody can do to me... i could listen to it on the radio without changing station but playing it is boring as F***!

I had a similar rattle a few years ago when i bought a couple of Fender Rumble 12's (V2 i think). It was only in one of the cabs. I traced it down to the backplate. Removed it, put a bit of insulating foam around it and screwed it back. Result! It can also be another thing like a loose driver, loose grill, loose corners, or even the wire inside touching the driver and vibrating against it. Check all the screws in your cabs.

Oh no... GAS!

I'll take a look at their P&P to Portugal and let my drummer know if it's cheaper. Do you happen to have a link at hand for it?

Cab (barefaced S12T) and cables/amp/pedals suitcase (travel trolley) have wheels, bass has backpack straps. One travel with all my gear. Drummer is thinking about getting a ROCKnROLLER cart from thomann for his drum kit and when we need to take our PA to a venue. They're very tough and versatile on multiple surfaces. https://www.thomann.de/gb/rocknroller_r6_mini.htm

I don't use clip-ons. I like to have my tuner pedal in the pedalboard before the other pedals so i can mute my signal whenever needed. My bass is active so after setting up i unplug it but leave everything turned on - jack in the bass, quick tune if needed and i'm ready to play in seconds. All pedals are true bypass, good EBS patch cables, no tone sucking in my signal chain.

What's unprofessional about silently tunning between songs when the singer is addressing the audience? Surely having a musician tuning by ear in those periods would be uncomfortable for everyone. No mather how good one's gear is it will come out of tune during the gig, strings get hot from the hands, the overall ambient temperature also gets hot with the punters body heat, it's impossible to keep perfect pitch from start to end, do an outdoor gig and it gets even worse.

Have you seen this one? Face it to the back of the headstock and there's not much visible from the front. If your bass has a black headstock then it becomes invisible. Not a very big screen but if you have a decent vision won't be a problem. EDIT: more pics: like i described: or, completely invisible:

I use pedals allways but not for the tone shaping. All tone comes from fingers/strings/bass. Pedals are there for tuning and fx, i do love to use envelope filter and/or octave in soem funky lines. I have a compressor always on but i don't consider it tone shaping as it's set as transparent as possible only really working on the high peaks. Amp and cab are only there to make this sound louder, all flat, changing tone to the possible minimum. So, i could plug my bass directly to the mixer and get my core tone straight away but i would miss the fx in some lines. Rig can be replaced by very goor floor monitor if needed.

Pelo menos, o dicionário parece funcionar bem...

Let's see... - Shipping the bass back to Japan; - Having Yamaha take a worker from the assembly line to: a. Dismatle the bass; b. Strip the entire body c. sand the bass d. seal and panit the bass, plus curing time e. reassemble the bass making sure every part fits as intended with the Yamaha QC standarts regarding soldering, fit and finish; - Ship the bass back to the store; Adding all these costs and time the bass would end up at almost double the cost for Yamaha Japan. It's logic that they prefer to write it off at a very good discount and just make back the production cost (or even a small profit, this bass is expensive new). I would take it as it is. If nobody wants it please direct me to it another edit: just to add that the process i described in my post is the only way for the store to properly fix that bass before selling to a customer as a new item. A refinish by a third party should void Yamaha's waranty on the bass but not the store's waranty and full disclosure about the condition of the bass should be required. Bes solution is to sell as it is and offer a quote for a repair job if the client wants it.