Chienmortbb

Our vocalist is UK but the lead guitar stands back miles. a real PITA.

Yes, I forgot about that and of course the Sound Meter, legends.

You may have noticed that it has rained a lot recently. A week or two ago I came prancing tough the back door carrying my LFSys 10. No cover but what could go wrong? A saturated pile of leaves could go wrong. As I stepped out, my right found found no grip, I went woofer over tweeter and the cab went several feet in the air (the drawback to lightweight cabs?). I really hurt my back but the cab seemed to bounced several times and laugh at me. It is testament to to how @stevie builds his cabs that the cabinet was wholly intact. Not only that but there was not a scratch on the Tuffcab. Of course the corners used on the LFSys cabs are very absorbent, probably helping the bounce, metal corners may not have helped in this regard, but the Tuffcab was unmarked. I had to try the cab after such abuse and immediately noticed a buzz but after moving the cab to the other side of the room, the buzz was in the same place. Full marks to @stevie and Tuffcab.

This is true of so many things.

That is what I was worried about especially if singer moves sideways and the backing opens the gate erroneously.

How well does a gate work on the vocals if you have backline? On the mic switch issue. It’s a sod to turn it on if you are playing and find out it’s switched off.

Thank you for that and my apologies for the delay in my reply. I think you have got it perfectly. In a gig setting Ingetcaway with it but I use one of @stevie LFSys FRFR cabinets and it’s is as clear as anything. Would playing along to a drum machine be OK?

That was my thought and some reviews say you cannot get a real clean tone. Thanks.

These were from Radio Shack or Tandy as we knew them in the UK. Not perhaps the best.

The SM57/58 were definitely 60s although the SM57 were more prevalent for vocals than the SM58 live. We did not know anything about mics and I think the SM57 looked sleeker and cooler. The SM58 and 55SH looked like something old singers would use. Now the received wisdom is that the SM58 was best for vocals so almost all mics look something like them.

I have the MOSFET version but am wondering what the difference is between them. Has anyone’s tried or owned both?

One tip I forgot, paint the bottom first. It means your mistakes are hidden and allows you to get match fit before tackling the visible surfaces.

At my local Legion, my Saturday night haunt when not gigging, the band were The Abbaholics. Tribute bands are not my thing, I like a bit of Abba occasionally but two hours non-stop? Nah! We went anyway and it was clear from the start that this was not the usual club act. The club secretary was celebrating his 60th and was paying half the fee. Just the lights as we went in were just professional. From here I will copy what I wrote to @Phil Starr on a DM. They were clearly an outfit used to playing bigger venues but one of the committee had his birthday yesterday and subsidised half their fee. The were a four piece, surprise, surprise and the two men played guitars and keys. Drums and bass were backing tracks. They had a sound man and from the sound check it was clear that the sound would be good. The two girls had superb voices that blended well but the real stars for me are the speakers. Clear at volume, plenty of bass without subs. I asked the sound man what they used and he said they had left most of the PA behind were just using two RCF HD12 A Mk2s as tops and another two as floor monitors. On paper there is nothing to suggest that these should sound better than the ART 712/912s that I have heard. Maybe the sound man was the difference.

Me too! The closest thing to a bass jam on record, he clearly wings it in the studio and has a ball.

There are two types of watts and they certainly do matter. What is crucial is how efficiently you convert electrical watts to acoustic watts. I would agree that they are of limited value in evaluating how loud a system (amp plus cab) will sound. Add that to the way manufacturer's play fast and loose with the figures mean that published figures are close to worthless, unless you understand the published specs and how they try to fool us. In the case of the OP he will do worse than listen to the advice of @Dood

True but some trained singers sound sterile. There is a happy medium. In my caseI have had no training but as I only sing BVs and I do seem to be able to pick out a harmony easily, I think I contribute vocally.

Snap, I can sing but do not think I would carry a whole night.

Write down your list of wants and needs. You have seen many things recommended and I own two of them, the Ashdown Retroglide 800 and the Bugera Veyron 1001M, the MOSFET one. I happily use either for gigging, both are neutral but put a Tech 21 Sansamp or Behringer BD-I21 in front ant hey both work very well for 60s 70s sounds. I have been using this setup instead of a load of pedals or multi-effects unit in that past month and I really like it. At £249, the Bugera is a no brainer and the tube input version is only £299. https://www.gear4music.com/Guitar-and-Bass/Bugera-Veyron-BV1001M-2000W-Bass-Amp-Head/1WNV

Not sure that there is much to gain by going to the Rumble 40.

Try your bass through the chorus, it really is good.

And we try to do it while playing bass?

I knew about that and should have put "magnetic pickup" but then thought let someone else have some fun.

I knew what you mean..... and that worries me!

Some are also low impedance, probabl;y form winding fewer coils, that has the advantage of reducing pre-amp noise but again need more amplification from the pre-amp. There is no practical active pickup, just some that MUST use a preamp.

This is nonsense, we do songs with keyboards but have no keyboards, songs for females, we have a male singer. My last band had a girl singer and we did at least as many male sung songs as female. A good song can be rearranged to fit the band.