warwickhunt

Good to hear this first hand experiences; 44 of my 45 years of gigging experience has been cabs and amps and I know what I like and what worked for me with those... I'm now just looking at simplifying/lightening the load in my 60's BUT I don't want a massive compromise (sadly IEM was a step too far but that is not the point of discussion). My present RCF310 is performing fine but I suppose I'm just feeling about to see if it can be improved upon for not a lot of extra outlay. I've got the loan of a QSC K10 (with the view to buying the pair for £800), so I have the opportunity to 'potentially' A/B the RCF/QSC on Saturday but I'll need to be sure I'm not messing everything up for the band/sound-guy. Shouldn't be an issue but I need to make fair comparisons.

Yep, that was my thinking. Obviously he got 'this' bass from Waterstone or their distributor but the wording doesn't say that he ever played 'this bass' live. I also have recollections of him playing a white one when I've seen him with From The Jam.

Could be reflections. If I were a serious buyer and it was going to be a big investment (unsure how much Bruce's name will add to the value), I'd certainly want to know, possibly even view. I find the wording of the last paragraph to be quite 'specific' but maybe that is just me.

GAS could well account for it, no denying that. 'Missing' - nothing missing, I can hear what is coming through the monitor but I am on 75% of the travel of the monitor pot (not saying this is 3/4 of full volume) and I'm not playing large venues with this set up. I'm yet to test the RCF310's projection abilities, without it interfering with onstage mics etc. so I don't know if a better quality unit might negate issues (though I appreciate volume is volume on a stage with live mics). I'd also like to know from the experience of others IF I can get an improved tone/sound within a reasonable budget, after all you could argue a £100 bass cab will let you hear yourself as easily as a £1000 cab; they won't sound the same but arguably they'll do the same job. 'FOH' - not in the equation. I go from pedals to PA and it is for the PA guy to do his thing for FOH and then send me signals through the Aux so that I can set the mix in my monitor (via my phone).

He's not giving much info on the damage around the neck joint front and back.

Great speakers but massive overkill for my use either as a bass monitor or for an acoustic duo.

In which case I'd go back to my backline!

They would be the mutt's nuts but 15" are just overkill for my needs mate.

I don't mind hearing ANY advice, so long as it is based on science or reasoned factual experience (which yours is obviously). Loud band - no on-stage feedback experienced at any time. I should add that other than my attempt with IEM I always wear moulded ear plugs. In the past couple of years I've gone (pretty much in this order); 1. Backline projecting to room/FOH with PA Aux send to 310 on floor as monitor for my vocal + lead vocal + guitar (guitarist uses IEM no backline) > 2. Pedals/preamp into PA / FOH split into backline as my bass monitor (NOT projecting into room) with PA Aux send to 310 as monitor on floor > 3. Pedals/preamp into PA / FOH with everything back through Aux return to my IEM > 4. Pedals/preamp into PA / FOH split into backline as my bass monitor with PA Aux send to my IEM for my vocals and rest of band > 5. Pedals/preamp into PA / FOH and Aux send to 310 on a speaker stand at my side of stage with 'everything' in it (excluding drums)> I think that covers my journey and I have to confess the last few gigs with scenario 5. have worked pretty well. I've used my preamp pedals (Fishman Plat Pro + Sansamp) with HPF to ensure no wasted energy in my monitor or PA. 'IF' this is to be my favoured set up going forward, I feel I'd like to get the best bang for buck that I can, with the caveat I don't like wasting/squandering money (not sure that last bit is always true). I know the RCF310 is doing a good job but I'm asking these questions of myself and others, just to be sure I'm having the best experience that I can. A friend is loaning me his QSC K10 (series 1) to gig this Saturday to see if I notice any obvious difference between the RCF / QSC using the same size 10" driver. The venue does have floor monitors but I'm going to get them to bypass theirs and go into my monitor. I'm tempted to take both monitors and either link them, swapping them over from floor to stand between sets or just to unplug and replace each between sets.

Interestingly a friend has a pair of the original QSC K10 speakers for sale (£800 the pair, very light use with covers)... now I need to research if they are worth getting or do I hold out for 12.2?

My situation - Play bass and sing harmonies in several (loud) bands and play acoustic guitar in a quiet duo. I own various bass rigs but I'm wanting to move away from that weight/load and I've tried/failed the IEM route, so a good quality active speaker mounted on a stand at the side of the stage will be my rig and the same speaker could do the acoustic duo as FOH (2 might be overkill). I'm presently using an RCF310 (I have 4 in total that I bought as a package) which is working fine but I feel I'd like to take the next step up. My shortlist is QSC 12.2 or RCF 732/932 but I'd not be averse to a similar quality 10" but I feel that to get the best from the vocalist in the duo a 3" compression driver would be best (don't know of a 10" driver + 3" CD). Am I missing anything (manufacturer or series/spec by QSC RCF) by focusing on these 2 options and/or could I get away with a lower spec version of the above (inc 10")? I could buy a single of the above new, so that is my budget but I'm inclined to look for used as that's just the way I'm wired.

I have one built into the Fishman Plat Pro preamp pedal, set and forget.

Approx... but pretty close. (Cost of item + shipping) + 25%

Sadly not an official RW.

Nice. What have you got in the way of tone shaping between your bass and the floor monitor?

Just a small thing but we do a sound check with guitarist/vocalist listening out front with radio gear listening to the overall band mix (sans vocals), then I go out front (radio gear) to set the balance of vocals + band with him singing. We also always check the same song so we know it has a mix of guitar sounds et al.

One other consideration which you may well have already done if you've been gigging is to start your initial set up with all of the EQs 'flat'. I've seen people step up to an unfamiliar desk/PA and start setting EQs based on what 'their' system generally has set... before anyone blats a drum, plays a note or sings a line! Once you have a basic set up you generally will just tweak for venues, so long as everyone uses the same gear with the same settings etc (bass drum mic always in the same place).

I'm sure others more versed in the best way to convey the order and setting will contribute but I'll throw these observation in. Have as much power 'in reserve' as you can, generally called head-room. This doesn't have to mean that you haven't pushed the master fader all of the way up, it can be headroom in various stages of your equipment. Do NOT allow band mates to back off on the volume they are sound checking at; guitarists dialling back the guitar volume, drummers not putting in the energy that they will when they start. If they sound check at one setting then up it for the gig you have wasted your time setting anything! Position your speakers appropriately (I'm sure this will be covered). I'll likely think of more.

Personally I feel the polar opposite; I've been screwed over several times and lost goods and money due to paypal's system/decisions... so it has gone wrong! I sold something to someone (not BC) and they claimed via paypal that the goods were broken/faulty on arrival. Goods were returned to me and they got a full refund... only the returned goods weren't the ones I sent and despite my photographic evidence showing different serial numbers they closed the case in the buyer's favour. I also sold an item and the buyer claimed not to have received the item, filed and got a refund. I provided proof of postage AND a signature on receipt but apparently it wasn't the recipients signature so I was left trying to claim from the courier who washed their hands of it as they had a signature from the person at the address it was delivered to. I've had several other disputes via ebay/paypal and it has been a right chew on to get resolution. Hey but we each make our own decisions and each to their own.

Yeah, we need to kick his backside but he gets the guitar parts great! 23-09-16 He's a whore.mp4

Quite correct and I should know better than to perpetrate that untruth but often it is easier for people to identify the types... but it is incorrect as you say.

One word... 'Heft'! Straight off I'll set out that I have owned (inc the Puma and a small version of the Genz) amps with digital power units, hybrid valve/class D, full valve, class A/B and I've never considered that any class D amp has delivered the authority of a good solid state amp. The Thunderfunk 550/750 will not give you 'overdrive/distortion', its focus is a good solid tone which it delivers in spades. If you are able to A/B them, I'd defo advise seeing if the core tone suits your taste but as for bringing anything extra, I don't think it will if you are happy with what you have.

Are you comparing active Sandbergs with passive Fenders? If so, I'd generally expect that even flat, an active bass has the potential to sound 'different'. Otherwise basses constructed in exactly the same way from the same materials will sound similar. Saying that I've found that body woods of Sandbergs are by and large lighter than Fenders (poss better seasoned) and iirc they are smaller than Fenders. Sandbergs also have a zero fret and better quality bridges (IMHO), which potentially alters the tone.