sunburstjazz1967

I'd take a versatile bassist with a jazz bass over a versatile bass with a player that is relying mostly on the pickup/tone options to get a versatile sound.

I'm surprised Fender aren't upset about the name Super Twin?

I did one of these, the bands were done in alphabetical order, we were B.went on last as we had a left handed drummer!

Luckily I had a middle man to advise me or I'd have overlooked them totally!

We never did it as youngsters in an originals band thinking back, always have in covers bands but probably not at weddings or functions unless we end up with a sort of pub gig vibe with the audience getting involved, when doing session type stuff playing for an artist they have always thanked whoever has consisted of that nights band.

[quote name='blue' timestamp='1459125255' post='3013747'] That's what I was getting at. If your not famous it's kind of lame. Blue [/quote] Ive never seen a famous band introduce the band, "and on bass, Flea".

[quote name='TimR' timestamp='1459094073' post='3013487'] I used to watch bands with quite a critical eye. It took me quite a while to work out why bands that were essentially very poor musically did so well. Now I just enjoy whatever they're presenting. It is what it is. Entertainment. [/quote] Many folks on this site appear to be of the opinion that the band could be great musically but once a music stand comes out, or the singer has the nerve to give the band members a mention, the guitarist has more than one guitar, the bassist has more than 4 strings, singer has the words on an ipad grab hidden discreetly etc etc etc then they are rubbish!

It must be a sad life for those people who hate watching a band that basically does ANYTHING different to theirs.

I like the FET channel the most and the only way to get it is either a max or an old 3.0, I like the valve channel too and the overall features are really practical, great for using two very different basses or DB and elec bass. I can't imagine what a gig is like where a 9.2 runs out of steam if it was powering say 8 10s or 4 12s!???

As the OP is talking about a max series head it has two channels unlike the 9.2 or 6.0.

[quote name='Phil Starr' timestamp='1458987822' post='3012593'] That looks like the sort of set up the OP should be looking at. Those RCF's are quality and short of a fully pro touring rig are pretty much state of the art at present (no pun intended). Left out of my original post, but hinted at in this post is the question of monitors. Your options are floor monitors, personal monitors like the MackieSRM150/BehringerBD205D or TC FX150 or in ears. One of the things that will influence your choice of digital mixers over trad is that they offer a lot of monitor channels which you only get in fairly big analogue mixers. [/quote] I had some good advice before purchasing it all and its brilliant and not that expensive really four what it is, like you say the next step up would be a full on pro setup at a massive cost! I have colour coded xlr leads for all the inputs and outputs with a laminated guide of what goes where, simple, relatively compact and sounds brilliant.

We have a behringer xair18 mixer (18 channels) and a pair of RCF 735s for front of house, OK they are expensive tops but they remove the need for subs unless you are a Motorhead tribute act, a pair of DB opera 10s as monitors which on their own would be good tops paired with our old passive subs and a poweramp, as the desk is digital it can handle 4 individual monitor mixes or in ear monitors (5 with the headphone out used for the drummer on wired in ears), as the desk is digital we can if required for any bigger gigs use it to EQ a killer kick drum with gate and compression like a pro gig then send that to our old Peavey PA and two old bass bins so we get the extra thump of the subs but the tight modern mix! So the whole PA consists of; Two RCF 735s Two DB Opera 10s One mixer smaller than a breeze block 4 10 metre xlr cables 2 10 metre 4 gang extension cables Oh and a tablet to control it, that's it, done, more power and clarity than a pile of old passive stuff and the desk alone in old money would cost ££££££s to get all the features it has, in built FX and digital plugins etc, 31 band EQ per output, multiple monitor mixes etc etc. If you play the same venues again just re load the mix you saved from the last time and bingo perfect mix! I have never heard vocals as clear at ANY pub gig as from the 735s as they have 3" voice coils allowing the 15" speaker to deal mainly with the guitar, bass and drums. They look like regular old Mackie tops but I am fairly sure I am going to ditch my amp totally as they are that good, if you went for 745s (£1000 each) there would not be many pub and small function bands with a better PA really, and all in two easy lifts!

I can't think of a genre where a Jazz, P or Stingray hasn't been used at a high profile live gig level? I have heard some great country bands using a Stingray right through to gospel and artists like Beyonce, funk, blues, rock, metal, fretted and fretless etc. It's all in the fingers but if you enjoy toys then that's what matters.

I wouldn't use anything other than digital with an iPad to control it anymore.

I can only focus if I've got a gig lined up :-( Rufus Reid's evolving bassist book is good to start back at day one and keep going until you are as good as Rufus Reid!

Make em too good and no one will buy a Sterling, make the Sterling too good and no one buys an EBMM, make them too good and no one buys a Stingray Classic! Most budget brands are selling on the product itself, budget versions of known brands are selling on the reputation of the 'real deal' as it were. Happens with everything, my sister has a Kia Sportage, 7 year warranty (unused on her last one swapped in at just under 7 years old), its a better car with more kit than say a BMW x3 but the badge says Kia not BMW so they have to offer something to temp you in, bmw can get away with a budget spec for 5 grand more than the kia as people will either put up with it to get the badge or (hopefully) upgrade to the higher spec model!

The Audio Nasties=new band name!

There's a lot of "bad workman blames his tools" imo. Some of the best (as in technical) players play bolt on necks with no noticeable problems, some of the best songs (as in songs I enjoy) could be played on a passive P bass copy no problem.

I can diagnose the fault easier than actually fixing my own playing!

One of my many faults, keep your left elbow up. You might have the bass an inch too high also making things worse?

Oh yes no problem

[quote name='xgsjx' timestamp='1458394643' post='3007232'] I don't think the BH250 is 250w at 4 ohm. Probably considerably less, but as you've pointed out, it's speakers that make the decibels, not the watts. [/quote] My 300 watt one probably isn't 300 at 4 ohm though either,lol.

I have an invention in my head, band in a box, digital mixer like the behringer x air, inbuilt wireless inputs and wireless iem, basically you buy the mixer, a pair of high end powered pa tops and as many instrument packs and iem packs as required. Job done perfect mix at every venue!

The OPs amp would have been fine through those cabs, a single 8 ohm 2x10 with a 250 watt head was putting out what, 175watts? less? I have a 300watt class D amp and I have run it through a pair of 8 ohm 4x10 cabs and I would happily gig it alongside the Trace the OP replaced it with! More speakers=more air moved.

[quote name='uk_lefty' timestamp='1458216328' post='3005643'] Got to admit of my four basses even my pointy five string fretless Kramer has more "street cred". Nothing is cooler than a white Fender p either. I am not sure this one will ever be used on stage unless I'm standing behind a wire mesh screen [/quote] The only way you could escape being the most un cool band member would be if you employ a keytar player!