bertbass

[b][i]The room acoustics are totally different when the room is empty versus full with an audience.[/i][/b] Shouldn't a good sound engineer adjust for this though. If I'm doing sound I'm constantly listening and making the sound as good as possible not sitting with my feet up chatting to anyone that will listen ignoring what's going on around them or going for a pint. [b][i][color=#282828][font=helvetica, arial, sans-serif]Only by running the instuments through the monitors may what's heard on stage be as close as possible to what's heard out front.[/font][/color][/i][/b] [color=#282828][font=helvetica, arial, sans-serif]I said before that trying to get just 3 vocals right in the monitors seems to be impossible let alone a full band. No, I'm quite happy to hear the sound on stage the way I like it and not somebody elses idea of a good mix. I've been in the position where the guys supplying the sound kept turning my amp down so that in the end all I could hear was a muffled bassy rumble in the distance and that was only when the others stopped playing. I spent the whole gig not hearing what I was playing.[/font][/color] [i][color=#282828][font=helvetica, arial, sans-serif]Again written on my Macbook Pro,[/font][/color][/i]

We very rarely have FOH, only once this year so far, so the only thing going through the PA normally is vocals so the back line provides the sound. Being somewhat old school, this is the way that we learned our trade and a situation we are more than happy with. If we have to use provided PA support then we're not normally happy. The sound man does not know the band or the songs and very rarely gets an out front sound that we or people who know the band are happy with. If the bass does not have a lot of FOH support then I couldn't be happier as I know that at least the bass will sound good. For monitoring all we require is just our 3 vocals at the same level through all 3 monitors, is that too much to ask, apparently it is. For instrument monitoring we just hear each other on stage as normal. If you're talking about bleed into the mics, the the bass is DIed, the AC30 is close miced and the drums, well he's a drummer and all he wants is something that sounds like drums, well actually like dustbins. If it was good enough for keif Moon, it's good enough for me and it's Premier. Isn't it strange that if the sound man does manage to get a reasonable sound out front during a sound check how it suddenly changes to rubbish during the gig. Sounds like a bit of a rant this so apologies if it does. Also written on my Macbook Pro.

How many of you actually take a wander around the venue during sound checks and gigs to check out the sound I wonder. I'm wireless and do the sound for the band so do this all the time. I love my 8x10, there's nothing I don't like about it when I'm standing in front of it playing, fantastic sound but the sound out front is not what I hear on stage. I used a pair of Jack 15s for a few gigs and was amazed at how different the sound was. I managed to get my sound on stage easy enough but it was as I was wandering around the venue that I noticed that the sound that I was hearing on stage was following me. The top end which inevitably disappeared, especially when the place was full, was still there. Quite an eye opener, or is that ear opener. The things that Alex and Bill had been saying was there for me to hear and it wasn't just out front that the difference was noticed, the rest of the band commented that they'd actually heard what I was playing for the first time which upset me a bit as I thought that they already appreciated my brilliance. This is only my experience and opinion but at least I've heard a difference which backs up the science. This post was written on my Macbook Pro if you're interested.

Who needs a rhythm guitarist anyway, bass and drums is more than enough to carry the band during solos.

Actually, under EU legislation we now have a 2 year warranty and the last I heard the UK is still in the EU. http://www.eccnl.eu/page/en/themes/Kopen-in-de-EU

[color=#282828][font=helvetica, arial, sans-serif]I've just received an item from Thomann that is faultless.[/font][/color]

+1 to what he just said.

Bought a used Rick in the mid 70s, a 4001. Loved the sound, loved the shape and didn't even mind the fireglow finish. The neck however, was the baseball bat version and quite difficult to play, also, there was never enough play in the bridge to get the bottom E in tune. One of the truss rods broke and when I replaced it with a new one the fret board started separating from the neck and then someone nicked it. Oh well. The sound was stunning though. Through a roost 100w valve head and a pair of Vox T60s and fitted with wire wound strings and both pickups on, Wow! The treble hit you between the eyes and the bass rolled out of the cabinets, across the floor and up the wall at the back. I loved it. When the Roost broke I used a 200w GK head and the same cabinets but the sound had gone, it just sounded flat and lifeless. Mr Foxen you're right, a Rick and valves is the way to go. Only my opinion of course.

Nice amp. Used mine with two 4x12s. I linked the channels and it was seriously good. I did notice that as the valves got older, the amp got quieter.

£1326.59p here, http://www.thomann.de/gb/fender_bassman_100t.htm

Saw the Ox in 69, 76 and 90 something. Brilliant!!!

The inuke actually only puts out about 200w a side. I measured the voltage when I had one. 28v flat out. The Peavey IPR 1600 is seriously good. http://www.peavey.com/products/proaudio/poweramps/ipr/index.cfm/item/116949/IPR%26trade%3B%26nbsp%3B1600.html Or the IPR3000 if you want more power.

We have a sound limiter clause in our contract but still turn up and find one installed that the venue failed to mention.

Played at a place once where the bingo caller was tripping the noise limiters. This was about 15 years ago and the've still got it.

We were the test band for a new sound limiter in a pub that we played in once. On being told that one was being fitted and tested on the night that we were to play the gig we said forget the gig, we don't play with them on but were talked into it. Not only was it set to 85db, but the power could only be reset from behind the bar, no switching on again after a preset time. Another gig we played had a mic installed actually in the stage and the power switched off as you walked across it. We were told, no one plugs into those sockets, use the one over there. So we did other wise we'd of been off home.

Those 200w are music power watts. RMS watts are 100w into 4 ohms and 70w into 8ohms.

Had a a pair of T60 cabs, similar size but a 15" and a 12" in each. The speakers had been changed by a previous owner to cheap EVs, Stage Sound if I remember correctly and with a Roost 100w valve head they sounded incredible especially with the 4001 I had at the time. The roost developed a fault so I used a GK200w head instead but it lost the immense sound with the GK, just sounded flat and lifeless which bought on a severe case of GAS. The new owner of the cabs was equally impressed with them though. I did get the Roost back eventually but that went as well. I've always regretted that.

Correct me if I'm wrong, but I can't see those leds lighting with 10K resistors. 470 ohm would be my choice of resistor.

Radar Love.

Switching transmitters on and off only takes a second and is not really any hassle.

I use the G30 and use multiple transmitters. As long as only the bass you're using has its transmitter switched on there is no problem as its one transmitter to one receiver. If you forget to switch the transmitter off when you change basses then you'll get nothing which is a bit confusing for a few seconds. The same with all wireless systems on the same frequency IME.

Indeed it was.

I bought a brand new one from a well known seller and had the same problem, totally dead. I sent it back with no problems.

I have to admit that I'm using elastic bands at the moment.

I did consider the Stageclix before I bought the g30 and while it ticked all the boxes the thing that put me off was that the receiver is also the charger for the transmitter and my receiver is permanently mounted on my pedal board and only appears at gigs. This meant that I could only charge the transmitter when the pedal board was on stage and plugged in to the mains. Not an ideal situation for me.