Jack

Perhaps a silly question but when you used the Cioks were the two pedals on seperate outputs? As in, were they definitely isolated from each other? Because if you had them on a daisy chain from the same ouput then they may be on an isolated psu but they wouldn't be isolated from each other.

I can tell you that the very first thing you need to do is get rid of those speaker-level XLR outputs. Even if you just tape over them. You know what they're for and that'll be fine. But one day you'll walk up on stage to find an irate soundguy who patched in there without looking and let the magic smoke out of something. Oh, and it's an amazing amp. I remember the one on the back of a bass magazine that came with the matching 4x10 and 1x15 cabinet. As a 15 year old boy I preferred it to that month's issue of Nuts.

Thanks for all the suggestions guys. I may revisit this thread if my new plan A doesn't pan out, but I had a eureka moment a few days ago and picked up a used MS-60B on here. That should cover the occasional 1-or-2-song-effects and leave plenty of room for the important stuff as well.

IME, as long as you stay away from the really small, really cheap stuff such as Ebay brands you've never heard of or teeeeeny litle 10W, 8" speaker things then there really aren't many bad amps at all these days. More specific than that? Ok then. If you're into all the digital modelling stuff (perhaps not based on the guitar gear you've listed) then the Fender Studio 25 would be great. I own the bigger brother and they're cracking little amps. If you've got simpler tastes in amps then my two favorite ever have been the GK MBE150 and the TC BG-208. Do you have the space for an Ampeg B100R? They're outstanding.

We're headlining (read: getting paid the same as everyone else but also providing the PA) at a big mod and indie event in a few weeks. The other two bands have sent their stage plots through and so I've already made scenes with named channel lists and input plans. Whilst I'm also wary of presets I've been able to do a few basic things like take an educated guess on HPF for the vocal channels and route certain things into certain effects as well. All from my armchair, 3 weeks before a gig. This is the future.

I think there's a female vocal preset here.

I've had 3 midgets (original) a compact and 2 FR800s. I can guarantee you that rig will see of most of the competition.

Me too, but a pair is pretty much the same price a single RCF 745. If I'm going to use 1 cab I'd prefer the QSC as it's smaller and lighter (I'd also get the pair so hey, free pa system) but if I'm often going to need 2 of the QSCs I'd rather have a single, bigger cabinet. My problem is varying stage volumes. 90% of my gigs can be done with none or at least very little, but we still do loads of big ballrooms and biker rallies and such that demand way more.

Which RCFs did you use? I'm trying to work out if the QSC will be enough or if I'll need something like the 735.

Given that the Trickfish cabinets are pretty average at best for 1x12"s you might actually be able to find a top-flight 1x10" that is similar or even out-performs it. I'm thinking of something like the Fearless 110 similar. However, they're likely to be just as big and heavy as an MI-grade 1x12", so there's probably no point.

Depends on what you mean by 'inability'. They will and can, but you usually need an extension cabinet to do it. I know, it seems weird but pretty much every manufacturer does it. I remember being really disheartened to find out that my then-new pride and joy Laney R5 was only really 180W.

But it does have lights.

I am lumping them together and I'm not meaning to. I've had and enjoyed both in the past and I'm aware of the differences I'm just not explaining myself well. What I really want is something that mimics a vintagey, Marshall guitar amp turned up loud type tone. We do a couple of Who tracks and a few other oldies that benefit from a distorted sound that doesn't have extreme highs or lows but has plenty of snarl. On the Helix I use a Marshall guitar amp and 4x12" set to overdrive into oblivion to achieve that. On my new Fender combo I use the HiWatt model. That's the kind of sound I'm after.

Thanks. The one thing I don't want to do is sacrifice good sound for size, I'd rather buy a bigger board. I should have mentioned that only one needs to be mini sized, the other can be roughly Boss-sized. So something like the the Matryoshka could work with a bigger fuzz or vice versa. I've also just seen that the newer Knightfall is a dual OD. Does anyone know how different can they be made to sound? Can I have one side modern and grunty and the other fuzzy and vintagey?

Hi guys, Planning a board that's going to be Wireless (Shure GLX6D) Boost (TC Spark Mini) Synth (???) Vintage Fuzz/OD (???) Modern OD (Cog Knightfall) Preamp (Sansamp paradriver) Because of space restraints, either of the as-yet-undecided synth or olde worlde fuzz will have to be mini-sized. Does anyone have any good suggestions please? I've had the Joyo Orange Juice before that I quite liked, so that's a contender. Any others? EDIT - Only one needs to be mini as long as the other is roughly boss-sized.

I got my Rumble 800 for £525 second-hand on here and it's a great little combo. I know they do the 500 too which is pretty much the same amp but without all of the modelling gubbins. That's where I'd go if I had to do it again.

I borrowed one of our PA tops to use a wedge for a gig that had supplied PA. The 712 wasn't enough for me. My gut feeling is that there is quite a gap between the 712 and the 732.

That's the assumption that I'm making, but again I don't know for sure either. I'm well aware that there's nothing user configurable such as the QSC has, but I'd at least like something. It is, after all, being used outside of it's original design intention. That is a possibility for me, but it means having two cables running from frontline to backline as my preamp is on my pedalboard. This would not be an issue if my wedge was to be in front of me like a traditional monitor, but it would be if the wedge was behind like a bass amp. The other option I have is to go preamp>pa>wedge but this relies on always having a dedicated aux. Fine when we run our own sound but not with somebody else's pa.

Deciding between a QSC K12.2 and an RCF 7xx. What's the DSP like in the RCF 7 series? Is there any? I see a use case where I go pedalboard>wedge>PA mixer in that order and so I wouldn't want to apply a hpf at the pedalboard (as that would also apply it to the pa feed). I know the QSC would allow me to apply a hpf in the wedge and it has internal limiters etc to make sure the speaker doesn't get damaged anyway. Does the RCF have internal limiters and such to prevent over excursion? I should ask RCF really...

They were definitely made with both.

The problem with this... ..is that. @Hutton fwiw like I mentioned before, most people actually seem cool with using the Walkabout down to 2R. Whilst I'm sure that it's not recommended, you might actually be able to use another cabinet with your combo. I said before the best bet was likely to track down a matching extension speaker. Whilst you still could, I'm pretty sure that any extension cabinet made for the Walkabout Scout will be 8R, then you run into things like the power not being split evenly, blah blah blah. You could try to source a matching(ish) Mesa 2x12" cabinet that was 4R. Then you'd have three Mesa 12" speakers getting about 100W or so each. But then you're back at the technically-not-ok-2R thing. And to top it all off, it's not really matching is it? They're the same brand and driver size but that means squat. I think you're onto the right track: Find a big, old school cabinet that most people can't be bothered to use any more and cart it out the few times you actually need it and use the combo the rest of the time.

Bill I understand your point (and I'm already nervous about disagreeing with you!) but are you really suggesting that something much bigger with many more drivers like the Barefaced 610 I mentioned in my above post woun't be significantly louder? Not only will it be able to take the full output of the head without breaking a sweat but it'll be more sensitive, voiced more aggressively and closer to the OP's ears.