Dan Dare

Much truth in that. A 35" scale makes a lot of difference on a low B. It helps if your gear is up to reproducing it, too. No real world bass rig will give you a low B fundamental (31 hz) at high volumes, but the better ones get closer or cover their tracks better.

Skytec and similar brands are, to put it kindly, absolute bargain basement (their stuff is aimed at the budget disco market) and I wouldn't trust claims of 1000w handling. They might cope with very short bursts in 4 ohm applications, but if your Dynacord can output 700w into 8 ohms, it'll destroy them with no bother, as you've found. You could get some better passives custom made (you're unlikely to find something suitable off the shelf), but passive crossovers, especially heavy duty ones, are inefficient and soak up a lot of power. At the levels you're running at, I'd look at an active crossover plus a power amp to drive your passive subs. Either that or go for active subs.

The problem with plugs, ear protection, etc is that either the whole band has to use them or nobody. I don't like them personally - they make me feel isolated from what's going on, but I have to use them sometimes in self-defence. My preferred option is that nobody uses them and we keep onstage levels reasonable and let the FOH do the heavy lifting. Once one person, especially the guitard, wears them and turns up so he can hear himself, everything goes to hell in a handcart very quickly.

Our singer has a penchant for Eb, so I carry two basses and tune one down a semi-tone. It's not just because it's easier to play in E than Eb. I also like having the low fundamental.

Thunderfunk are great amps, but not exactly found on every street corner. If you want that old school solid state heft (and who wouldn't?), a decent preamp plus powerful PA power amp is one possible option. Before I went Class D/lightweight, I used a BBE pre plus bridged QSC 1850HD and it had a truckload of slam. I still remember it fondly, but the lightweight stuff is so much easier to schlep at my advanced age.

This. You've given 4 examples in total. If they're all you've tried, you've barely scratched the surface. You will not, repeat not, drop into something fully formed and good unless you are extraordinarily fortunate. You're probably more likely to get all six of those lucky balls on Saturday night. Did you give the guy a chance to explain why he called you 3 hours late (11pm is hardly the middle of the night), or did you "tell him what to do with his band" immediately? I'm starting to sense a whiff of entitlement from your posts. The world doesn't owe any of us a gig or a job. It's up to us to go out and get one. Unless you are hot stuff, it's not easy.

Never thought I would "make it" in the usually accepted sense - live in a castle, have helicopter and Ferrari, etc. I had short periods of playing for a living, but I nearly always kept a "proper" job going. By the time I turned 30, I realised I would likely need a pension, so kept the music as a side-line that made me some extra lolly. Had a lot of fun and got to play with good people and go to nice places courtesy of the music. Now I'm in my dotage and able to live comfortably, I'm glad I did things the way I did. I know several people who did better than I did back in the day from music, but life is not as easy for them now as it is for me.

Exactly. People can argue with each other on here all they like about hobbies, giving people a lift to the pub, invigilating in exams, etc, etc, but it won't make a scrap of difference to the way insurance companies run their affairs. It isn't people on here who need to be convinced, it's the insurers. People are free to take a chance if they wish. It's a free (ish) country. But they shouldn't complain if it blows up in their faces.

That's interesting. I must admit I haven't shopped around for a few years, as I've been happy with my present insurer. When I originally tried to find insurance as a musician - a while ago, now - the quotes I received were pretty eye-watering. Come renewal time, I'll have a look and see what's on offer. Thanks.

I have to disagree with much of the above (sorry, Warwick). Most musicians I know do declare what they do to their insurers. The excess premium I pay does not equate to 10 gigs worth of money per year. it's more like two (works out at an extra couple of hundred a year for me, although I am older and have a large NCD). The cost of an insurer declining to meet your claim will be a LOT more. You can take a chance, of course, but you'll regret it big time if the worst does come to pass, especially if you are at fault and you have to pay someone else's costs as well as your own. The chance of it happening may not be great, but paying a little more is worth it to me for my peace of mind. As I pointed out previously, you won't find any bargains on Compare the Market type sites. They are aimed at Mr & Mrs Average. When I started to do a few gigs many years ago, I told my then insurer that I wished to add cover as a musician and they wanted to quadruple my premium. I asked the MU for advice and they put me in touch with my current insurer (Victor Knight - Google will find them). The cost is only slightly more than what I paid previously. A specialist broker who deals with insurance for professional/occupational purposes will probably be able to find you something, too. It's your decision, but I'd urge you not to take a chance. Insurers just love to avoid paying out if they can. Fair enough. They're businesses and have to protect their bottom line.

Paid gigs definitely count as work. I'd strongly advise getting cover that includes professional use. Insurance companies love a loophole. If you just go for SD&P and have an accident on the way to/from a gig, they will happily wave goodbye and leave you to sort out the mess (and possibly pay someone's relatives for the rest of your life if the very worst happens). It won't be the cheapest, but it'll be a lot cheaper than the worst that could happen. Many insurers will take monthly DD payments these days, which helps spread the pain. The MU can point you in the direction of insurers who cover musicians at not outrageous prices. You are unlikely to find one on the Compare the Market type of sites.

Yep. In fact, I think I'd prefer to poke out my eyes with sharp sticks.

It already exists. Pair a decent bass pre' with something like a big Lab Gruppen class D power amp and away you go. Pricey, though.

Hardly "budget" though...

Beyer DT770

If you like naval history, Drachnifel is well worth a watch.

Wood type may on occasion make a tiny - likely immeasurable - difference to the sound of a solid instrument, but as no two pieces of the same species of wood have exactly the same density, grain structure, etc, its pointless worrying about it. Construction methods and electronics are where the major differences lie. Sure, it's a completely different story with acoustic instruments.

I always use Parcel Force and have not had a problem yet (I may have been fortunate). If they collect, I'd suggest them. Not the cheapest, though.

I played an outdoor festival on Sunday evening. We were last band on. I arrived as the band before us started playing. I parked in the street outside the venue and was impressed by the sound of the bass. It had plenty of depth, tonal range and clarity and was loud. As I was behind the stage, much of what I heard had to be coming from the rig, not the PA. I walked round the front of the stage and the guy was using a Barefaced Big Twin and an Ashdown ABM500. Very impressive. So yes, BF will do definitely what you require, imho.

The obsession with chasing "the one" applies to a lot more than basses. There is no ultimate "one", just our current unattainable ideal. The minute we have it, we hanker after something else. It probably stems from our tendency to become bored once a desire is satisfied. As soon as what was previously a pipe dream becomes reality, it gets absorbed into our everyday existence. I guess continuing dissatisfaction is the reason humans no longer live in caves and hit things with wooden clubs. So it's not all bad. My old '72 J that I've had since the early 1980s is the instrument I always come back to, so I guess that's my "one".

Probably not that great in many cases. It depends on the eq/facilities different pre's offer. A channel strip type of pre will probably allow more extensive tone-shaping and have less of a baked-in sound. When I made the switch from pre + power to a head, I found a head that gave me results I liked with my instrument and cabs without my needing to do much with the eq. Of course, if my tastes/instrument/cabs change, I may have to change it to get what I want. As I'm pretty ancient and set in my ways, that's relatively unlikely.

Not a problem. Go into your internet settings and select the "delete all cookies and browsing history on exit" option.

I used to run a BBE pre' plus PA power amp. Worked well, but was no better than my current Aguilar head (and a lot heavier/bulkier - a modern class D power amp would get round that issue). If your head has an fx return, you can run a pre' into that and bypass the onboard tone stack/preamp. The only way to find whether it will suit you is to try stuff out. In my experience, running a flat rig is nice at lower volumes, but it can get a bit lost when you need to push some air and compensate for venue acoustics, other instruments/amps, noisy stages, etc. If you want that studio monitor clean sound at high volume, you need to spend quite a bit of money.