lemmywinks

I do have an amp, I just choose not to gig with it due to the reasons I mentioned above.

This is what I was saying, previously on a small stage I'd be stood right in front of my amp and being tall I struggled to hear myself yet was too loud out front, no fun at all and was solved with a wedge monitor and then IEMs.

Because you said "the rest of the world that often has no stage as such just a corner of the pub to set up in and play some tunes" which is pretty much the ideal situation for a small band to use IEMs. Cramped stages are where I get the most benefit in terms of being able to hear myself without compromise to FoH. Also why would I carry monitors for everyone? I'm not their dad!

I still play venues like this and it's a lot easier to get a good FoH sound without backline. Of course the PA volume is still dictated by the acoustic kit (minus kick) but generally I have a much easier time mixing with no amps on stage.

The same forces who are instructing you to be angry at whatever is termed "woke" this week are the same as the ones who have just passed a law prohibiting your right to protest against perceived injustice. The free speech card isn't one you have in your deck I'm afraid.

If you can solder and buy used drop in replacement parts then reversible upgrades are a fun way to try new things and improve a cheap bass. Where it gets risky is doing irreversible modifications which might not have the desired effect and leave you with someting you may struggle to sell if you decide it's not for you. Sensible upgrades for a cheap P copy would be a better pickup (although the difference might be less noticeable than you would expect) and quality tuners if you intend on gigging it. There's worse things to spend your disposable income on.

FoH mix is a breeze when all you have to worry about is an acoustic drum kit, a lot issues that plague amateur bands doing their own PA just disappeared overnight when we ditched backline as well as a drastic reduction in setup times (which is still on a downward curve btw!). Add that to the consistently great monitor mix I have regardless of what room we're in and the minimal gear I need to take there's no going back.

I think the 3EMP3LD preamp has been in everything for a while now as it's their modular design so chances are it will have been the same.

Was there ever any clarification on what the BEQ3 and VM3 voicings are btw and do they change the frequency points of the eq? So far most people seem to think the VM3 is pretty transparent whereas the BEQ3 is slightly scooped. I know they are meant for different pot configs (varimid being VM3) but the general consensus is that there's other differences as well.

Big Splits in the EHB so hum cancelling split coils, most Nord equipped Ibanez have Big Singles or the CND variation of them I think. I also really like the preamp but maybe it isn't the best fit for the licensed Barts which do have a reputation of being dark, suits the Nords really well though.

Do you find the BH2 pickups sound better passive? Tbh it might be that the 3EMP3LD preamp is just a bad fit for them as it has no shortage of high end with the Nordstrand equipped EHB, it's not something I feel the need to switch out in fact I cut a lot of highs to get to where I like. Did you try changing the preamp connector from VM3 to BEQ3? That was supposed to boost the treble according to some people, although others said the BEQ3 was muddy like the old MkI preamp so as usual YMMV. There's also a +6db boost connector on that preamp.

It doesn't really look much like a T-40 IMO, more just a P copy body with MM pickups slapped in there. In fact the more I look at it the less like a T-40 it gets!

I'm sure if you replace the word beginning with "H" with a well known one beginning with "F" the joke will become clear.

According to the stories he healed the sick, fed the hungry and helped the poor so basically another socialist woke lunatic. Apparently rewrote the rules of the old testament as well WHICH IS YET MORE CANCEL CULTURE, WHY DO THE WOKES EDIT AND ERASE ARE HISTORY?!!?!?!!

Jesus F Christ...

As already said I wouldn't put anything other than the Taylor Mini strings on there, no idea what D'Addario did to get a beefy sounding 24" low E but I'm guessing it needs that specific set to perform as intended.

What's the overall length? I can fit the standard scale 1505 in a Gator Pro Go without removing the extra padding at the bottom, I imagine you'd have to remove it (or replace with thinner padding) for the MS version.

R&T Music in Barrow have an EHB1000S for £799, not too far from you: https://reverb.com/uk/p/ibanez-ehb1000s-short-scale

Guyker do East clones which is good because the East ones are never in stock: https://www.aliexpress.com/item/1005003176219596.html? https://www.aliexpress.com/item/1005002683252060.html? Can find 'em cheaper if you search.

Ibanez EHB series - 45mm at the nut and 18mm spacing. Wide flat neck with great access, feather light as well. Body is angled away at the top so very comfortable, mine is 3.15kg/6.9lb but tbh it actually feels lighter as there's no dive (headless so not surprising!) and it is so slim. Basically hangs at whatever position you put it in, the only lighter feeling bass I've owned is the Aria Sinsonido which is made from helium and foam. Get the 15xx versions or budget for a pickup swap if going for one of the cheaper ones.

The eq on the BH250 is quite clever as well as the controls cut and boost at different frequencies - the bass cuts @ 80hz and boosts @ 100hz.

What cabs are they? If the backplate is big enough and easily accessible it might be a better bet to get a parallel input/output installed in one (or both) of them. The BH250 is a cool amp but not the loudest, you can get more perceived volume out of it with the Spectracomp Toneprint loaded and set to around 9 o'clock.

This is never not funny:

I quite like our German friend, they're obviously having a bit of a laugh here.