P-T-P

+1 for the advice that watts alone isn't necessarily going to help you achieve what you want in terms of volume. The same amp through two different speakers, one much more efficient than the other, is going to generate two very different amounts of volume. Perhaps the better and more readily answerable question to pose would be, "What combo should I get that will be fairly light but sufficiently loud enough that I can use it at my local jam session. I have £xxx to spend."

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[quote name='Mike' post='45421' date='Aug 14 2007, 08:19 PM']Thanks for your thoughts. If that's the case, Dood ([i]Using earphones as your stage monitors would be very good though.[/i]) then why don't more people do it?[/quote] Fear of the unknown! Plus in-ear monitoring isn't cheap, especially if you want truly individual mixes. My band made the jump earlier this year. The biggest snag we have, because we run our own sound, is that if we're all in-ears and don't have a mate with us to sit out front and listen to what's going on, should something major go wrong (like the left channel of the mix conking out, we've no way of knowing. On the phones front, we have E2s and E3s. Me and drummer using E3s, singer and guitarist using E2s. I haven't tried gigging the E2s, but they were a little lacking in bass response when noodling around with the IEMs when they first arrived. The E3s were definitely better. However I still find I need to hear/feel the real low part of my signal coming from my amp to be truly comfortable. Of course a big part of it is getting the seal right when using the phones. No seal = no bass. I agree with what others have said in respect of monitoring FOH via phones, it will work to an extent but won't tell you what the sound out front is actually like for the punters.

Yeah, loads of bass to be had for £600, especially if second hand is an option. Bet there's loads of choice in the way of US jazz and p-bass for a start. Possibly MMan and Warwick Streamer BO models. Definitely Warwick Corvette's second hand, in fact I think could get a new Corvette for £600. Could have a new Yamaha TRB from Thomann for that kinda cash too. And if he's after an Aerodyne, why is he spending £600 when you can get one of the Jap imports from somewhere like Guitar Emporium for about £400? Thinking about it, don't tell him that last bit, go an buy one yourself, sell it to him for £600 and give me half the profit

I use Musicguard. Had a claim earlier this year which they processed but it took them a bloody long time to get it done. 7 weeks from incident to approval of claim and a further two for delivery of replacement. I was glad we had the cover but was pissed off that it took so long to sort out, particularly as I had provided a repair note within a few days stating it was beyond economical repair and also sourced quotes for replacement. They insisted on having the mixer which I was claiming for collected and taken to their repair guy who after a week finally got around to looking at it and writing it off. But it then took a further two weeks before anyone got around to following up on my constant phonecalls and obtain a written confirmation of this from them. Then there was a further couple of weeks obtaining a quoteon replacement from their supplier (Sound Control) which in the end saved them £30. In the meantime, we were stuffed so I had to buy a replacement anyway. I sold the replacement they sent and in the end it basically cost us £60 to be back in the position we were before the accident. If I relied on playing for a living I'd have been well pissed off at the length of time it took to get us back up to playing speed. There may have been provision for hire in the policy, but after 9 weeks, hiring would have come out well over and above the cost of the damaged mixer I'll bet. Insurance due for renewal this month and the premium has gone down which is good, but I may well look elsewhere.

I use a BOSS GT6B and it is great if you have the kind of mind that will get off on the amount of work you have to put in to learning how to use it. It is far more versatile £ for £ than pedals because you'll get at least one of each of the main FX (more with the modelling) and you can play around quite happily with the FX chain and to so on to create your own wild and wonderful sounds. It's not really plug and play though. Sure, you can plug it in and play with the pre-sets which is fun for a while, but you don't want to sound like anyone else who buys the same unit so you have to dig into the manual and create some patches of your own. It's not too hard to do if you follow the instruction manual. The biggest downside for me with multi-FX is that you need an encyclopedic knowledge of the unit's workings in order to be able to use it well live. You can go through and program patches to your heart's content before you head off for the gig, but I've found that tweaking on the fly is not so easy. For some it will be, but I just don't have enough room in my head to remember exactly which series of button pushes I need to press before I can twiddle the depth on my chorus. I did a gig recently where simply because of the size and shape of the stage/room, two or three of my patches were wholly unusable because they had eq-ing which removed a little bit of the bottom end, but the venue was already taking a lot of that away. First song great, second song, "Where's all me bottom gone?" For me, I'm going back to pedals for live use, just because snags like that can be sorted in about two seconds with pedals. However I am cringing at the costs involved compared to the multi-fx. GT6B was £150 second hand, gonna cost the best part of £500 to get pedals and board of sufficient quality to replace the effects I've been using from the GT6B, and even then I'll still be missing a lot more that could/would be usable down the line. I will probably keep the GT6B just for home/rehearsal/recording use as given the time to make adjustments while having the manual on your lap, there's so much to play with. On the TC Electronics G-Major... It's an eipc bit of kit. I had a weekend of playing about with one on appro a few years ago and loved the moises I was getting. Again though, manual referral needed to get the most out of it.

My thoughts would be, if it puts your nose out of joint that much and there's not loads of wonga coming in, either find another guitarist or find another band. However be aware that most bass playing gigs require us bass players to let our ego take a bit of a back seat, it kinda goes with the territory. I'm fortunate that the guitarist in my band is a total egomaniac in a performing sense but a self-confessed musical luddite in another. If he gets to big for his boots he's a pretty easy target and will take a gentle put down squarely on the chin and shut up!

This is why we have two kidneys.

I have owned the following jazz basses: MIM Standard Jazz V MIM Deluxe Active Jazz Geddy Lee MIA Deluxe Jazz V MIA Deluxe QMT MIA '75 RI Jazz (maple, black blocks) MIA Ltd. Ed. '75 RI (rosewood, pearly blocks) Lakland Skyline JO5 Lakland Skyline JO4 I still own these: Lakland Skyline DJ5 (maple, active) Lakland Skyline DJ5 (rosewood, passive) Of the ones I owned, I'd only have back the Fender QMT (because it looked gogeous) and the Lakland JO5 and JO4. I can't ever see me getting another Fender unless it's a vintage one and then it would be most likely for investment as much as anything else. If you can manage to hold on, save up the extra couple of hundred quid and buy a second hand Lakland while keeping my eyes peeled on eBay as they sometimes slip through the net there and go for a bargain. In fact, I'd go for a Lakland 44-01 ahead of most Fenders. If you can't wait, go for the Geddy Lee because it will be easier to sell on once you've had your fill however, if you really like it but fancy upgrading the electronics, a J-Retro will drop right in without fuss.