jrixn1

Tickets to a Renaud Garcia-Fons gig.

Boss LS-2 can do three instruments. Also has multiple switching modes in case your needs change in the future (e.g. blend two inputs; or route one instrument through two effects loops).

Thanks for all the replies and information! It's really useful.

Has anyone gigged in central Paris? I've got three back-to-back nights at Le Caveau de la Huchette later in the year with a 10-piece swing & jump blues band. I live in London. My options seem to be to drive there with my upright bass, or take the train with a bass ukulele. It would be really lovely to have the upright - but I'm wondering about the hassle of driving, unloading, and parking my van in central Paris. I'd imagine it wouldn't be that fun. I've not driven to Europe before. Anyone have experiences to share?

@Al Krow, mine is an HD 10-A mk4. I'm not really sure what exactly is the difference between the HD 10-A mk4, the ART 310-A mk3, or indeed the ART 310-A mk4. The specs, price, and marketing all seem very similar. From what I can tell, the differences are the voice coil and crossover frequency - not sure what the consequences to the end user would be. Oh, and the HD 10-A has side handles The band I was depping with last night were using two Mackie 450s. I'm not sure how much bass guitar was put through those in the end. Venue was a hotel ballroom holding maybe 200 people. My regular band have two QSC KSubs and two K8s, which seem to handle up to the larger ballrooms; for anything bigger, a sound company will normally take care of things. The HPF is two Ac Bs Pre on the Zoom MS-60B.

I've been using an RCF HD 10A (the "traditional rig" equivalent would be perhaps a 450W 1x10" combo with a tweeter) for the last few months mainly as a monitor - but I doubled up and used two of them as backline last night while depping with a louder band than my usual one, with minimal PA support. During sound-check, I compared the difference between using one and two. I think I could have just about got away with using one at high volume - but two of them definitely gave a richer tone. The volume on each was set around 35-40% - so I could have gone louder had I needed to. In fact the keyboard player asked me to turn down. I was using a five-string - the tastefully-occasional low notes were deep and full, but with clarity, producing large grins each time on the drummer and guitarist - they were loving it - so there was no problem there. I know it's only one note lower, but there really is a big difference between a normal low E and a low D! Incidentally, my HPF is 24db/octave at 40Hz - paging @Al Krow Loading is a delight as each is only 12kg and 12" wide, so fit easily through doorways, narrow staircases, and squeezing past the waiting staff while you're hauling gear to the ballroom via the hotel kitchen The speakers have live-in soft covers (with flaps in all the right places) which also adds a small amount of convenience. I'm aware there's probably a psychological effect to being happy with gear one has recently spent money on - but really, I am very happy with these.

I think you have calculated for a connection in series; i.e. 8 + 4 = 12ohm. But bass cabs are connected in parallel, so the calculation is 1 ÷ (1÷8 + 1÷4) = 2.7ohm, which I'm afraid is below the minimum for your amp. Your only cab options are: one x 8ohm, two x 8ohm, or one x 4ohm. There is a calculator here with explanation: https://geoffthegreygeek.com/calculator-speakers-in-parallel/

I've been considering getting a custom pickguard cut (for a different bass to yours). From reading previous threads, I'm going to go with either http://www.jacksinstrumentservices.com/custom-scratchplate-cutting.htm or http://www.simscustom.com/html/00pickguards.htm You send in your existing pickguard as a template.

↑↑↑ Agree with this. I play weddings/functions and the FOH is 100% covered by the PA, so my only concern is the on-stage sound. Try doing gig with no bass amp, and instead put the bass through the monitors. What I did for a while to give me confidence was set up my bass rig as normal but then keep it muted. Therefore I did not have to worry, since I reasoned that if could not hear myself for whatever reason during the gig, I could just unmute the amp. But in the end, I never needed to. I have now sold my bass rig and just use a powered speaker monitor.

I use a Behringer DI400P which is about £18. I'm sure a Radial is slightly better. But I'm yet to be convinced I need to spend 10 times more. (I am listening though, if anyone wants to try.)

Yes, you are right. The manual says the speaker should be connected to 1+ and 2+. You could get one from http://bassic-bits.co.uk/ - it's the one described "Speakon(4p)- Speakon(2p) using 1+/2+ for bridged amps". If it was me, I'd get a FRFR powered speaker as then the amp is matched by design with the speaker and you don't have to worry about how they interact. Although I think you posted in that topic - but I've lost track, so sorry if that option was already covered elsewhere.

Have you got the input sensitivity set to normal or high?

If you still want to know (after 10 years...), that photo is from http://www.3dentourage.com/425/425.htm

Consider rewiring the existing pickups in series. It will not sound like a Precision but it will be heading in that direction.

I'm still really happy with my FRFR powered speaker (a modest RCF HD 10-A). I sold my Genz Benz head and Barefaced cabs. The only thing I've changed about my setup is an EQ pedal, which I've added post-DI. I use it mainly for its volume control - it makes it slightly easier to adjust my on-stage volume without having to find the powered speaker's gain control (which is located on the back panel).

I just bought a bass from Dave in person. He was friendly and helpful, and the bass is in great condition. Highly recommended!

https://www.youtube.com/watch?v=2IYPII6rUt4 (1955) "I like to dance the Suzie Q, the Conga, and the Truck. I like to dance the Suzie Q, the Conga, and the Truck. When I get romantic all I want to do is ---" etc

I'm not familiar with the Archer, but I do play a comparably-priced Chinese bass (a "Christopher" which was £1400 new about five years ago). It's good that yours has been set up by a luthier. What was the asking price... like £700-£900? I should think it would hold its value - but the market is smaller and moves a lot slower than say for bass guitars. So patience is required when selling - but it would sell, eventually. I'm always happy to hear of someone taking the plunge. Good luck - double basses are wonderful things (well, on the whole...).

I do this. The only tip I'd give is that everyone needs to be organized with their diaries and have clear communication. We have a shared Google spreadsheet, one row per gig. There are three regular bassists and we each have our own column to fill in our availability for each gig. The bandleader asks that we fill this in at least three months in advance. Then he goes through and fixes each gig. There is then another column in the spreadsheet which confirms which bassist is actually doing the gig.

I had an MB150S for a while, over 10 years ago. The model itself is, what, 30 years old? Has the tech kept up with more modern developments in the world of speakers/amps? Anyway, it wasn't loud enough. I subsequently used a Genz Benz head + Barefaced One10 cab for a while, and now I use a digital amp sim + RCF HD 10-A powered speaker. Either setup handles around 400W, louder than the GK, but still about the same weight. So if it was me, I'd sell the MB150E over modding it. BTW if you love the MB150 sound, I saw that the GK Plex has an MB150 preset - although I've not tried that preamp myself, so don't know how close it gets. (To be used in conjunction with a powered speaker.)

You can connect your XLR line out directly to the venue's instrument input using an XLR to mono jack cable. It must be mono (unbalanced) not stereo (balanced). For example: https://www.designacable.com/musician-leads/instrument-leads/designacable-unbalanced-sommer-neutrik-6-35mm-jack-to-female-xlr.html Or contact this guy explaning what you are doing: http://bassic-bits.co.uk/ The one possible issue with the direct cable approach is that the level of the signal which the Markbass is sending is too high ("line level"). The venue amp is expecting a lower level of signal ("instrument level"). I believe the "most correct" way to address this is to use re-amp box like previously recommended. But you can also try just turning the input gain down a lot on the venue amp - that might work fine.

The Markbass has two XLR line outs. One is already going to the PA - but you can commandeer the other one. The issue is that that output signal is balanced line level - but the input on the venue's amp is unbalanced instrument level. In this case, you need the opposite of a DI box - which is a re-amp box. E.g. Palmer Daccapo, Radial ProRMP, ART RDB.

To slightly tidy up my area of the stage, I bought one of these - search on eBay for "Fisual Zip Cable Tidy Wrap". They're about a tenner. It's easy to use - you don't need to thread the cables through or anything like that, because it unzips fully along its length. Just first roughly gather the cables together, then wrap the cable tidy around and zip it up. My gear position, power supply positions, and general stage logistics vary from gig to gig - but in this instance, it was two power cables (monitor and pedal board), USB (to charge my phone), and an XLR send to the desk. Other gigs I might also have an instrument cable in there and a monitor XLR from the desk. I've survived years without the cable tidy but it all does seem a bit neater now.

Perhaps you thought of this - but my PMs also get emailed to me - so can you search your email account (if it goes back six years)?