guyl

High Fade in Warrington last night. LOUD, hot, sweaty. An assault on the senses, but brilliant!

Just back from Bernth and Charles Berthoud in Birmingham Academy. Quirky. Nerdy. Entertaining. Whatever you saw on You Tube - that boy can play live - don’t doubt it!

Sold Colin a Mono strap. Super fast payment and smooth transaction. Thank you!!

Al - I’m in the “there’s no going back from moulded ear plugs” camp. Mine were from Read Audio - they now cost £160. Wouldn’t hesitate to go back if I ever lost them. Never found an off the shelf that comes close.

Thanks for the heads up. I live in Manchester, but am in London the night Vincen is in our town! What’s the chances. ☹️ In case it’s not been mentioned, I’m not particularly a jazz fusion aficionado, but thought the Cory Wong Manchester Apollo gig last year was awesome. Vincen was outstanding. The band was brilliant.

Yep - can of worms right there @Richard Jinman. I had two VL-110 cabs at one time. Paired with a the white faced EA iAmp head. Lovely clean sound. With a great pickup, upright sounded awesome. One cab on its own was never quite man enough for me so usually I used both. And although they were compact, were a reasonable weight so a trolley or two trips to the car needed. I know nothing about the engineering or technical side. But my guess is those cabs had some really great (and maybe innovative) ideas in the speaker design. But speaker enclosures and tech have moved on - and you can probably do better with a more modern cab. By better I mean lighter, louder, more efficient... I'm not thinking of trading my Markbass and/or Barefaced cabs for a return to EA. Also, my view (today, but it changes!): I'm happy with a reasonably transparent sounding speaker that can cope with the volumes required. The biggest tonal factors are pickup and amp. And bass set up and strings. Oh yes - and technique!

Ready for some new Grolsch rubber seals. But can't find the bottles anywhere. Do they still exist? (happy to buy someone a couple if i can have the seals...!)

A while ago I decided to learn to arco properly and changed my strings to Pirastro Obligatos from whatever pizzy strings were on there. The Obligatos work much better with a bow. Pizz brightness and immediate punch is slightly compromised, but still pretty good so all is well. Strings feel very smooth. Tension is a bit lower than before. But practically every gig, I've been getting blisters on my plucking fingers. Sure, sometimes there's a reasonable gap between gigs without much practice inbetween. But could it be the case that the smoother string is less grippy and requires more force to grab? Or that the compromise in brightness means I'm unknowingly digging in harder? And maybe the lower tension is somehow an issue? Anyone found some strings more blister-inducing than others?

Winery Dogs Manchester last night. Awesome. Billy amazing as ever. I hope I have his energy and rock n roll cool when I get to 70! Now looking at European dates to see if we can see them again later this ‘month.

Just adding my agreement for the custom moulded earplugs. May seem pricey compared to off the shelf, but incomparably better. Mine feel just like turning down the volume across the entire frequency range, rather than only blocking/muffling certain frequencies. Your hearing doesn’t grow back once you damage it…

Thank you @stevie for loaning me the Monaco. I had the pleasure of using it on a variety of gigs. The short review summary Its brilliant! Well constructed; Astonishingly loud given its size; very clean, precise, controlled sound. It was at its best as a monitor in a very noisy stage, where it cut through the racket cleanly whilst avoided adding to the mele. There is a trade-off for all this precision and control, in that you lose “full” swampy low-end. And sometimes, when there is no PA support, you might want a little more low end. Note: This is not a criticism of the Monaco, which does exactly what it sets out to do brilliantly well. The Longer Review (About me…) I play upright and 5-string electric bass. Sometimes with effects. I do quite a bit of depping and get to play a wide variety of gigs. The only downside is I often don’t know quite what the gig will entail until I get there – (other musos, volume required, venue size, pa support etc) 70% of the time I’ll take my Barefaced Compact (one of the original ones with 15” speaker). It’s warm, loud and super portable. I love it. However, if I think it’s going to get loud, perhaps without PA support, I’ll take my Markbass 4X10. It is a slightly more coloured sound than the Barefaced, but still has warmth punch and enough clarity – even on upright. Generally I tilt it back, rather than have it pointing at my knees. I’ve used allsorts over the years – from super clean Euphonic Audio, to big and heavy (and woolly) 2x15, but have settled on these two for quite a while now. Whilst I love the Barefaced, I’ve found myself wishing for more high end “twang” or “punch” or clarity – especially on upright. Hence the interest in the Monaco….. The Monaco Felt very robustly constructed. (Much more robust than my Barefaced, although appreciate I have quite an old BF model). There was an issue with the top handle standing proud, which Stevie is improving and recessing. The cab seemed really well finished, although the finish did mark easily. (Sorry Stevie…) But these are small points. Obviously I didn’t stand on it, or throw it in the back of a van, but it felt robust and easily strong enough to take whatever gigging life could throw at it. The sound is super clean and clear. Very accurately reproduces what you put in. It’s not unmusical, but don’t expect warmth! On my double bass, I actually ended up changing my piezo pickup as a result of what I heard through the Monaco which was unforgiving about the middy-honk that tends to develop on piezos Compared to my existing cabs, it compresses the low end. You lose the indistinct low stuff. This is a trade-off for the clarity and clearly a deliberate design decision. And it is afterall a one-handed lift, single driver cab. What I’m saying is, the cab is amazing, but there is some limitation. And I missed the low warmth of my existing cabs. It doesn’t shy away from whatever you put in. It goes unbelievably loud for such a little thing. Bonkers actually. It doesn’t seem to wimp out or break up at serious gigging volume. And remains super clean no matter how loud you get. A little story I took the Monaco on a function gig. I was depping for the regular guy. There was a large PA, but I expected the stage volume to be high. I set up the Monaco, but was convinced is wouldn’t cope, so had my 4x10 on standby! The gig volume was louder than I even expected. Stage was wide but shallow with PA at sides. Drummer was thrashing it right next to me. And singers just in front had their monitors ear splitting loud. The general muffle of the PA stacks nearby added to the racket. The Monaco kept up admirably. I could hear every note, without it adding any bass to the stage racket. Amazing. I never used the standby 4x10. If that was my regular gig, I’d have never sent the cab back to Stevie. A week later the regular bassist called. The bandleader had told him I was using a cab that he’d never seen before but that it was brilliant on stage. He wanted to know where he could get one! Another little Story (sorry) I own a Ken Smith bass. It’s amazing. It’s like every car I ever owned was a Ford or Toyota, and this is a Rolls Royce. Every single note rings out cleanly and clearly. Sound Techs and Bandmates love the clarity – which cuts through in every situation. But whilst I love it, I always feel exposed. There’s no-where to hide. Sometimes it’s too clean. Maybe sometimes I want a muddy, indistinct, low rumble. Probably because I’m not good enough. Or perhaps it might be more appropriate to the gig. (I’m no Pattitucci – I’m employed as a supporting player – not a soloist.) This might be a confidence thing, but I don’t always play my best on the super-clean Smith. And maybe there’s a bit of this in the Monaco. Super clean sound and very controlled bass may be perfect for Sound techs and others on the stage. They probably hate indistinct low rumbling, or “bass-wash”. And of course I want to sound my best. But it gives me confidence. Reassurance. Which makes me play better. Summary The LfSys Monaco is amazing. Brilliant. Well built and mid-blowingly loud given its size. If I played in a noisy band with big PA support every gig I’d buy one immediately. Actually I’d buy 2. Not for volume. But to ensure you can still dial in that indistinct warm bass rumble underneath all that clarity. Doesn’t become a 1-cab option then, but hey…. And you’re supporting Stevie – who is lovely and really seems to know his stuff. There some serious science gone into this cab. Price seems excellent value against the competition. And the fact that I didn’t buy one (yet) is literally down to personal preference – not any failing of the cab. Sorry for the rambling post. I hope this helps someone.

As above - separating amplification from speaker is the “weigh” forwards! I’d also suggest that if you are going very lightweight, you could always take a second cab if you know in advance those pesky horns are around …