chevy-stu

300 quid... balls... been hoping to sell mine for more than twice that .. bargain-tastic... enjoy...

I used to drag all this about... sounded huge but was huge and overkill for most gigs, except the gig at the Astoria it did once...

I do about 200 gigs a year, used to be a few more, virtually all rock/pop/dance covers. Currently own 5 basses - 92' Stingray, 02' Stingray, 74' Jazz, 77' Precision, short scale Cort strung as piccolo. The 92' Stingray does about 70% of the gigs, as it's my favourite by far, and most useable for type of gigs I do, handles de-tuning and has best volume balance across strings/frets. 02' Stingray comes out if I fancy a change. Jazz comes out again if I fancy a change, or for gigs I know I won't need to a massive range of styles. Cort Piccolo only used for duo or acoustic type gigs. Precision used only once or twice a year as just doesn't sit well in most stuff I do/how I play. eta - I try to avoid taking the Jazz (as it's the most valuable) to gigs where I think the bass will be on stage unattended for a while, weddings etc..

9 years old, i started learning guitar as my older brother was playing already, and my parents wouldn't get me me drums (too loud/big etc.. ) 6 months on, he's got his first band with school mates and tried their bassists bass out, Precision copy of some kind, but loved it and talked my next birthday/xmas present to being a Satellite short scale bass.... never looked back.... and am still not great on guitar....

Some interesting points, and certainly many most bands i've worked with, or booked often forget, mainly they're there to sell drinks side of it.. .. It's obviously written from a US based rock bar type point of view.. (I've probably played 80%of the songs too)

Very interested.... but still a bit pricey for me, as I'd only use a few sounds..

From my experience, which will be obviously different to others, it's hard to mix on an iPad and play at the same time, so while the Ui16 and Air are great pieces of kit, done gigs with both, I feel they need to be operated by a non-player at gigs to do a proper mix.. If the band rarely needs mixing and levels stay 99% fixed once set you could be OK. Monitors, assuming you'll just be getting a couple to put on the floor at the front, then it's whatever you can afford, some 10"s are great, I use a pair of Pulse 10's that are fine for our needs of just vocals for BV's. The Behringer B212 powered one's are also good for the money, loud and pretty clear...

2EQ and 3EQ Stingrays - I still always use Ernie Ball Hybrids 45-105, play 100 % finger, with the occasional thumbing dub styleeeee. Tried DR's, GHS Bummers, and Rotosounds (after many years of being an only Rotosound guy on Fenders) .. and always come back to the EB's ... Nothing else sounds right to me... but I do like an aggressive bitey tone, as I find it's easier to tame when needed with a bit of eq and playing adjustment than add the bite afterwards..

Current set up. Does most of what I need for rock, pop, dance covers, and I wouldn't want to take anything more exotic or expensive out to gigs. Need to get my Hot Hand fixed, which I normally link to the Bass Synth. All runs from a tiny Mooer 2amp Power supply.... I've had the chorus about 20 years/few 1000 gigs, which shows..

If its anything like an Ampeg svt350 then I wouldn't bother. I had one for a short while and was very dissapointed .. not much volume and average sound.. I bought it as a hopeful replacement for my then ageing Marshall DBS7400 but it was not I. The same league, so sold it on within a few months for about half of what the one you mentioned... and this was 15 years ago..

[quote name='TheGreek' timestamp='1444823599' post='2886362'] The proof in the pudding and all that.... Check the "For sale" thread for the opinions of those who have tried it - I'm in Hatfield - a 25 minute train ride from London if you'd like to try it for yourself.. [/quote] I'm sure it plays beautifully, and sounds equally fab... just not my thing.

[quote name='Dad3353' timestamp='1444765974' post='2885853'] ... and where are we on the 'monstrosities' scale with this..? [url="http://imgur.com/DJWYV0W"][/url] [/quote] I don't mind that, the caramel pickups and Terry's all gold hardware spoil it for me though...

Some of the advice here and experience comes from all sorts of different angles, some I really don't understand. I always mic or DI everything and add into the PA whatever's needed at each gig... Some rooms such as those with wooden floors, hard walls high ceiling etc, won't need much guitar, snare etc... but a big marquee and you'll need loads of everything in the mix, as the material surfaces suck it up. A quiet drummer is a luxury indeed, and even more reason to keep a nice quiet stage level and pump it all through a decent PA... IMO live sound for bands, the vocals and kick drum are the 2 things you'll want up front in he mix.

I went there to check out a lightweight D class amp/twin 1x12's options at BD about 2 or 3 years ago, and found Mark's opinion of amps completely at odds with mine, but he had good stock and was friendly and helpful, and most importantly he did stock other stuff I did like and subsequently buy.

An octave pedal used, and playing an octave higher will get you a more dubby sound, depending on the octave pedal, and how you set it and play.. I use an Electro Harmonix Octave Multiplexer which works well for the deep sub I want for some of the dance tracks I play... like most octave pedals, I find it doesn't track well below C though, so have to play accordingly. I haven't used the EBS so can't comment on that particular pedal

[quote name='Painy' timestamp='1444476584' post='2883523'] Keep them in identical cases/gig bags then grab one at random without checking the contents as you go out of the door and let fate decide?[/quote] [quote name='EssentialTension' timestamp='1444478203' post='2883541'] I have on more than one occasion opened the gig-bag to find what I was not expecting. [/quote] yep, played that game more than once, due to 3 identical gigbags... ended up taking my 74' Jazz on a 10 day Austrian tour when I really thought I'd grabbed my #2 Stingray in case it got damaged..

Depends what for and who's carrying it

I used to use a HK Lucas 2000 PA for a few years for pub/club gigs/wedding etc.. and the drummer was always whinging he couldn't hear the kick drum, so for a while used to put the powered 18" sub at the back next to him, and the 12" tops at the front as usual. It worked well, needed to heavily gate the kick drum to stop feedback, but the sub needed to be a certain volume to work for a decent low end balance out front level, which was then too overpowering on stage, so we went back to having it upfront with the tops. Vocal low end feed back was never an issue but the sub only worked below about 120hz, and the mic had low pass 100z filters so guessing this cured that.

Stingraaaaaaaaaaaaays !!!!!!!! My go to bass, and gigging workhorse.. 2EQ 1992. 2002 red translucent 3EQ, bought as a back-up for the one above, but get's some use if I fancy a change.

I don't think any lightweight amps will give anything like an all valve grumble and dynamic ... it's just a matter of how much your prepared to compromise for the size and weight.... Alternatively if you don't move it loads go heavy (like my vba400 for sale goes down to 2 ohms as well 😉)

[quote name='dincz' timestamp='1443520392' post='2875402'] Or so the folklore goes. [/quote][quote name='EBS_freak' timestamp='1443450066' post='2874771'] *cough cough* X32 *ahem* [/quote] R and D in colaboration with Midas, who make their own more expensive version too..

[quote name='Big_Stu' timestamp='1443021301' post='2871535'] .... I met Brian Connolly at an Edinburgh gig about two years before he died. Long story short; He never could handle the heavy drinking lifestyle that went with the role, but in '76 he was kicked in the throat outside a bar (latest theory is it was by a jealous boyfriend of a girl Brian had pulled). His voice never recovered, coinciding with the hits and market drying up. So he sought solace in the bottle he couldn't handle at the best of times. The final toll it took was him having over a dozen heart-attacks in one day while in hospital, which left him how you saw him. When I saw him he was helped onto a darkened stage by two roadies. [/quote] Me too, he rehearsed for one of his final tours at my old studio, and poor bugger had such bad shakes he couldn't hold the pen to sign the cheque for the rehearsal time... such a shame.