gazhowe

After playing a Warwick Thumb for 10 years I bought a Spector Euro 4 after being initially attracted by the look of the bass. It became my main gigging bass for 3 years and has a great tone. I still have it and only stopped playing it due to GAS to try other basses. The neck on mine feels quite chunky compared to my other basses but, from comments on Basschat, I'm led to believe that not all Spector basses have the same neck profile (mine was built in 2002 I think). IMO they are excellent basses and well worth checking out.

Nice to see a few other Momark owners on here still enjoying these excellent amps. Haven't used mine for almost a year since I picked up a RH450 but just ordered a EQ42S module and looking forward to giving it an extended run out.

LEDJ Q Colours are worth looking at for flood type stage lighting and have in built programs so no additional controller needs to be purchased. One each side of the stage/band area would be sufficient but you may also wish to purchase additional lights to provide some variation to the wash colour.

[quote name='Telebass' timestamp='1378883577' post='2205852'] Currently analogue. However, if the Samson Airline bites the dust, it will be a digital Line 6 all the way. [/quote] I noticed a definite improvement in sound when I switched from the Samson Airline to Line 6 G30. IME it was worth changing even though my Airline system was still working (I now use this in the house to save me tripping over my lead as its cheap as chips to run!).

I had a 201 system that I used for about 20 years without issue before it packed up. Seemed okay although expensive for the time. I've since moved onto Samson Airline then a Line6 G30.

I bought one second hand that gave me great use for a number of years. I couldn't comment on the Ashdown gear as I've never tried it but wouldn't disagree with any of the previous comments on the TE.

I'm planning to go too as I missed the last one.

I believe that the Chauvet 6-spot will produce white light however I don't think they would suit your needs as the heads are very close together and I don't think they can be individually controlled. My band tried floor based par cans to provide white light on band members but I often found myself making mistakes during songs due to looking directly into, and being being temporarily dazzled by, them. We have since mounted led par cans on tripod stands at each side of the stage with white light directed onto band members at bass/guitar height rather than at face height. This works much better from a practical (playing) point of view and looks just as good from out front IMO. Perhaps this approach may be worth considering?

I don't know what capability your QTX foot switch has, however I'm guessing it will only control QTX lights that are daisy chained together via DMX cable. You can use different brands of lights with one controller, however you need to decide which lights you intend to purchase and also whether you will be running them in 4 or 6 channel DMX mode. This is optional on some lights, such as the LEDJ Q Colours, with 6 channel mode allowing you to use additional features. I operate the following lighting rig for my band: 2 x LEDJ Q Colours, 6 x LEDJ Slimline 229's, all daisy chained via DMX to a Transcension LED Commander 64 controller. This, like many DMX controllers used by bands and DJ's, uses 'simple DMX' control and is fairly easy to set up and operate (albeit after a bit of trial and error as the instruction manual is rubbish). Many 'simple DMX' controllers operate in 4 channel DMX mode only and will not control lights designed to run in 6, 7 or 8 channel DMX mode, such as my older Slimline 229's, hence I needed to upgrade to this more capable controller. Incidentally, the LEDJ Q Colours are really good lights. We use one either side on t-bars to provide a stage wash with two Slimline 229's to provide white light for me and the guitarist. We use another two Slimline 229's as uplighters for the drums and the other two as uplighters at the side/rear of the stage area. I hope you find the above useful. Regards Gaz

Unless you need the extra channel options and range that the G50 provides I would recommend the G30 instead. The G30 transmitter has a standard jack socket output whereas the G50 & G90 systems have a different type of connection. I can't remember exactly what this is but the supplied lead isn't very flexible and you will need to buy the same type of lead if you want to keep a spare.

My own situation is similar to the OP so here's my experience; I play in a 4 piece rock covers band and tested a RH450 and MarkBass MoMark with a Berg AE410 at Bass Direct. I settled on the MarkBass with the Berg as I preferred it's tone over the features of the RH. After gigging with this setup for 2 years I bought a second hand RH450 six months ago to provide me with a lightweight backup amp, and partly to satisfy my GAS for the RH feature set. I've done 15-20 gigs with the RH and I'm finally becoming more satisfied with the tone, which is longer than it took with my Momark however this only has the VLE and VPF for tone control. (My band won't do full scale rehearsals so I generally have limited time to try different eq settings in soundchecks). As we had a little more time on Saturday I took my MoMark and did an A/B comparison test of both amps during the sound check and I was surprised to find that the RH sounded fuller and better in the mix. As I don't have the same EQ controls on both amps I'm aware that its not an accurate comparison and I'm sure that I could also get that fuller sound with the MarkBass if necessary. Having been pleasantly surprised with the results of the brief A/B test I'm happy to stick with the RH for gigging as the footswitch, tuner and pre-sets are really practical. With regards to comments about the RH being compressed when pushed, I haven't found this to be an issue IME. I don't want to re-ignite the debate about whether the RH450 is a 236w or 450w amp, or whether the RH450 is louder than my 500w MoMark, as we don't put my bass through our PA and I've still never needed to run either amp past noon, so its a moot point for me. IMO, the RH450 is a great little amp with a very appealing and practical set of features. I would suggest you look for a second hand RH450 and keep hold of your SA450 until you have have plenty of time to evaluate the RH450 in a live situation.

LEDJ Q colours are really good for a stage wash and have in built program's so you don't have to use a controller. I would recommend some separate LED par cans (such as the LEDJ Slimline 229's) to provide some contrast to the wash if your budget will cover it.

I've been wireless for approx 20 years (Nady, Samson Airline and currently Line6 G30) and only had a couple of interference issues with the Nady system back on the 90's. IME I have noticed a definite improvement in sound quality since using the digital Line6 system. I wasn't at all unhappy with the other systems - more a case of not experiencing the improvement that digital made to my tone due to not compressing the signal. I would highly recommend going wireless, and especially the digital systems.

This 'agent' wouldn't expect you to tell him which venues he could work with so why should you accept being blackmailed over where your band can play? My band had the same issue with a local agent a few years back and told him to forget it. We have done occasional business with him since but won't be bullied or blackmailed into taking or not doing gigs. I suggest you stick to your principles and do the same.

My band has just upgraded from traditional par64 cans to an LED system. We use 2 x LEDJ Q Colours for a stage wash plus 6 x LEDJ Slimline 229's (4 as floor cans plus 2 on t-bars with the Q Colours). I use a dmx controller with all of these lights however, if you don't want to use a controller, each type of light has in-built programs and multiple units can be linked in master-slave mode. I'm not sure whether you can master-slave the Q colours to the Slimline 229's. If you just need something to provide a stage wash then 2 x Q Colours would do the job of lighting up the stage really well.

Status hotwires (double ball) for my headless S2 and Elixir for everything else. Gauges are 40-100 and 45-100 I believe.

Not sure but suggest you check out www.statii.com if you don't get any joy on here. If you are thinking buying new then I'm sure that Status would be glad to help.

I bought the 500w amp frame, solid state pre-amp, blank eq section and master with VLE & VPF filters. I later swapped the pre-amp for the tube one. Couldn't have been easier - ordered pre-amp from Mark at Bass Direct Friday morning, it arrived Saturday morning and was in place 10 minutes later. Oh, and the amp is a joy to use by the way.

Perhaps they have just become a bit less fashionable as the trend at the moment seems to be for smaller/lightweight cabs, and the option to use one or two cabs depending on the situation. I agree with the OP, if a 4x10 (or any speaker configuration for that matter) sounds good and its practical then why change just to be fashionable?