jrixn1

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I remember this thread recently which mentions the Harley Benton GPA-100 and the Jule Simone 500.

Worth noting that the Laney R210 is a 16ohm cab, which is unusual.

Do you want speaker cable or instrument cable (or both)? They look the same, but are different - you shouldn't use instrument cables to connect amps to speakers. In the UK I always get my cables from designacable; I'm not sure what the USA equivalent is, or what the conversion to AWG is - but the specs should be in these links: Speaker cable: designacable / van-damme Instrument cable: designacable / van-damme

Our swing orchestra has a few dates coming up: I'm at Manchester, Liverpool, and Bristol - our other bassist is doing the first three dates.

I reckon it's the body of your bass picking up the vocals and then feeding back through your own bass amp. Sweep your notch filter frequency until (hopefully) the feedback stops. Also try your variable high pass filter (on the Fishman, they call it 'low cut'). N.B. the knob controls the cut-off frequency, not the amount of cut. Turn the knob up until (hopefully) the feedback stops - even up to the max if needed. I sometimes HPF at 160Hz, which is the Fishman's max frequency. If your instrument now doesn't sound as full, you can still increase the 'bass' knob. Some people have had results by blocking their f-holes with foam. That might be worth a try, although for me this didn't make a difference. Is your bass positioned right in front of your amp? Can you try moving things about so that you're further from your amp, or at least slightly to the side of it; or elevate your amp considerably so that it's firing over the top of the body of your bass rather than straight into it? As well as your amp, is your bass also going through the PA? If not, is that something you can consider doing - this might allow you have a lower stage volume on your amp. A larger change to consider is the setup of your bass and playing style/technique. If you were to play unplugged, are you getting much acoustic volume? Or are you tickling the strings and relying on the amp to be heard? The higher the volume is on your amp, the more chance of feedback. It's going to vary for each player/instrument, but for me, a slightly higher string height and more robust (but not heavy-handed) pizz technique resulted in better tone and more volume, which meant lower volume needed on the amp.

How about wearing the gig bag upside down? It likely swaps one problem for another (the bass may now hit your calves instead of doorframes) but worth a try?

I tilt maybe 95% of the time and when I moved from a BB2 to an RCF 732-A I was 100% happy with the switch, including sound quality and bass response at high volumes, and dispersion. The trade-off as you say is that most things are heavier than a BB2, including the RCF. TBH I found a 732-A pointing straight at my face was too loud for use as a personal monitor and now use a smaller QSC CP12.

The manufacturer (Warwick) states "All basses are lightweight with max. 9.5 lbs (4.3 kg)." Seems like quite a claim, although I suppose I've no reason to doubt them. https://shop.warwick.de/en/instruments/electric-basses/sadowsky-metroexpress/21-fret-hybrid-pj-bass/22817/sadowsky-metroexpress-21-fret-hybrid-p/j-bass-morado-fingerboard-5-string I've previously emailed Thomann ([email protected]) to ask for the weight of a specific bass (not a Sadowsky), and they did weigh it for me.

250W seems underpowered for a 2x12". Nothing wrong technically as such, but it seems inefficient to be lugging around a large cab that you can't then make the most of. As for mixing cabs, it is indeterminate whether the MB115 will sound good in combination with your choice of 2x12". Instead of ending up with three pieces of gear, potentially none of which will go that well together, how about selling the MB115 and LM250 and picking up a more-powerful head which is better matched to the 2x12"? Or - buy a second MB115 (or 115MBP if you can find one - the discontinued powered extension). Having two combos also provides the backup you mentioned.

Yep, afraid it seems you have a bit missing.

We have these (or similar - not sure which brand/model we have) https://www.thomann.de/gb/km_24650.htm

Thanks for the additional info - makes sense. To add to the suggestions, the MXR M81 is a small, well-built, transparent preamp pedal with DI.

Just going back to the original post - what's the reason for not wanting to use your amp's DI?

Why not just use your existing MS-60B, and then only change if after a number of gigs it transpires you are not happy with it. I used a MS-60B with a Behringer DI400P DI box for ages. In the end I was pulled to EBS preamps for their feature set (as I am doubling nearly all the time), but I was never unhappy with the way the Zoom sounded.

You can test your existing cable without a multimeter, if you have any device with a 1/4" headphone output e.g. an interface or hi-fi. Play music through that device and connect it to the Palmer's normal input ("Bass In") using say the red mono jack - then through your headphones you should be able to hear one side (either left or right) of the music. Then switch to the black mono jack, and you should be able to hear the other side. If you are going to replace, I've been using an EBS cable on my pedalboard which has been reliable - EBS ICY-30 (30cm). They also make a ICY-100 which I guess is 100cm.

Yes that it is the correct type of cable (although I've had problems in the past with these cheap cables being DOA - do you have a way to check e.g. a multimeter?). The split mono jacks go in the HX One, not the Palmer. The two options are: red jack into HX One "IN L/MONO" and black jack into HX One "OUT L/MONO" black jack into HX One "IN L/MONO" and red jack into HX One "OUT L/MONO"

Does your cable have a mono or stereo jack at the non-split end? Do you have a link or photo?

Consider 3M Dual Lock low profile. It's more expensive but you don't need much of it at all (1cm² at each corner of a pedal is more than enough), and it holds the pedal considerably more firmly than hook & loop.

What bass do you have and how are you EQing? What sounds good at home doesn't always transfer well to the stage. If for example you are boosting the lows at home, that could cause muddiness and a lack of definition on the gig. I'm playing the same style of music as you on a P bass with flats, although my amp is different to yours. Looking at the BQ250 its EQ points are "Bass" 80Hz, "Lo-Mid" 400Hz, "Hi-Mid" 800Hz, and "Treble" 10kHz. I'd start with the Bass and Treble rolled back a bit, and the Lo-Mid and Hi-Mid at noon.

Which bass do you have? You've written GB35JH, which I think doesn't exist, but you've linked to the GB75JH. So I guess you probably have a GB75JH; but perhaps you have a GB35A which is an older "3" series and does have the "JH" pickup configuration? Cort's webpage for the GB35JJ says 34". If you have the older-series bass, I saw there is GB35J on cashconverters at £150. The scale lengths: GB75JH: 35" GB35JJ: 34" GB35A: 34" GB35J: 34" I don't know if the neck of the older basses (35A and 35J) fits on the bodies of the newer basses (75JH and 35JJ).

Sire's FAQ give a typical weight of 4.67kg for the P8 5-string. But each instrument could be more or less since wood varies in weight from one piece to the next. franzbassist did well to get a lighter one at I guess around 4.3kg before changing the tuners.

2nd gen serial numbers start with '2N'.