JTUK

Not sure on the Proels... I'd be wondering why the guy is pushing them..unless he can really sell them to you in terms of great sound. He may have a 'deal'..??? I hear the RCF 10's and 12's alot and I like them... but if you are loud and a pub band, maybe think the 10/12's are better and then take a sub. This pushes the price up, but I think a loud band putting kit and gtr thro a pr of tops is asking a lot. We do it at times with a pr of KW112's (gtr, keys and kick plus o/h ) but it depends on the drummer we use... When we get to that level of sound..either the subs should come out or we really have to turn down... as you just end up blowing everyones ears out..!!

I have no idea why you prefer any Gibson type bass over the Sandberg but you do, and if that keeps you picking the bass up then stick with it...

Good track... shared .... Best of luck with it.

Most of the DJ's we have worked with are failed musicians and not very good at all... so if we find a good one, we make sure we take a card...

Saw a great unplugged band using the RCF 10's and they could really blast out the vocals... which is what the band sold themselves on. Unless you are a very loud band, those RCF 10's will be more than enough and will also match up with subs better, IMO.. Don't know the QTX things well... but have heard a few bands running them and they don't sell them...so RCF all the way. Too many bands have decent enough sounding gear as a backline and then run the vox through a muddy and battered pair of 12's... I really don't get that... if the vox suck then so does the band, IMO.

I like both my basses passive at low volumes far better .... and you can understand why most people go this route on big stages with rigs. The option of active is worthwhile but in an ideal world I would go passive 99% of the time. Just sounds more balanced and better, IMO.....

[quote name='EssentialTension' timestamp='1382716246' post='2255880'] If you don't like how it looks then don't take the cover off. Or buy something else. [/quote] well, there is that, of course... but I think it is sh*t* practice....cheap and shoddy, IMO.

I've been through loads of sets and I like them to sound lively and therefore relatively fresh. I lost faith in DR's consistancy..altho they were for years, the only thing I'd use... XL pro's just don't have enough for me... they're ok to get you out of a hole, but I've given away all my sets now anyway. I liked Super Steps for the taper on all strings so I got Newtone to do the same and I get 3 or 4 sets made up in a run. They aren't super bright but they last well and I can make 3 or 4 sets last best part of a year. They come straight off when they get thumpy and dull... it isn't so much the sound that does for them, but the feel of gunky strings. Sometimes they clean up well enough for another run. DR's used to clean up well quite a few times, but something changed and when they no longer did that, I moved on.. Ken Smiths were good... but sometimes it is the gauges that suit more than anything else. I like the idea of 45's but they really don't suit me... so something between 40-45 works best.

Not sure what value there is by replying and keeping it cordial...if they aren't going to be anything musical to you in the future. But, if you must reply, be gracious or cordial about it and let them feel any guilt...

RCF ART active series should be available new for £800 a pr and would be my choice and clear out those amps and cabs.

I always think you want a 5 ONLY if you hear what it can do for your playing.... I'd get a P bass spacing at nut and bridge so you can then transpose what you do now on a 4 on a 5... if that is the spacing you like. I don't see the point of swapping back myself so you need to be commited to making the change. depends what you attempt to play on it governs how much time you need to devote to it...IMV. I think a J5 with a P neck sounds the way to go.

My concern here would be how powerful the D and G will be through a 212. I have a 212 which really delievers there and a pr of 2x112 which don't... so assuming the amp is what you want, I'd be looking at the cab very carefully. For that money it really should and then it will be worth it. You'll pay that money for a couple of 112's

I think your main problem may be that the management of acts may not see this as a charity event the way you do.. I understand your intentions but they may inundated with the same... Best of luck with it...

No one gave me any advice...........

Recently saw a few Foderas and Ritters and I didn't get on with the MG Fodera as it was so geared to his playing and about 40% of mine so on that basis I wouldn't be interested. I prefer glossier finishes as well which brings me to Ritter. Very well made indeed but too stylised for me. Really nice to play but not something I would gig...so again, no point....didn't even check the price tag. I am sure they are fab basses for someone though.

Then I'd look at Martin Audio, Nexo, maybe Dynacord and Meyer... but I'd think this overkill in a pub. We have been impressed with EAW when we've used it hired-in, but not sure of the product line. If pub only, then powered new ish Mackie and Yamaha will do... but we've heard the later Mackie is more fragile than the earlier generation... from guys who repair it and you can say that about JBL and HK as well. Maybe the kit gets a beating and maybe it has been a round long enough...or maybe they use cheaper parts... The latest range of JBL may be worth looking at as our keys preferred them over QSC... but can't recall if the price was the factor there.

The other thing is...define quality. The OP posted high quality in the thread and QSC is certainly that... but only up to a point. Martin is a step again, for instance, so if you are saying high quality for £3k -ish then QSC is the best we found. We think it is worth the price difference over RCF, Yamaha, JBL, Mackie and the like... by some way but it depends what the buyer hears. If you have subs and can get good seperation out of the P.A ...then almost anything will beat 2 tops, ..almost..unless very good tops. 300w per side vocal P.A's are a pretty poor place to start from a vocal point of view...so put your money in the tops as these will ALWAYS be on the gig. Subs can be crucial as well,..as plenty are pretty flabby, and avoid things like the Mackie thump which was truly horrible, but we likedm DB and RCF and we went for the RCF's when space, weight and performance were taken into consideration. We even liked then over the QSC subs.. so it will be really be worth it going to a shop that has a demo room to A/B as much as you can.

We use QSC and it is ok, but you'd need subs and a tight room for 300.... I think you'd be pushing it but then again 300 is not a pub, IMO The tops are decent as standalones but you'll want the 12's for that. If you run subs 90% of the time then you can go for the 10's as they sound better balanced run in that config, IMO I'd also look for wooden boxes, so we went KW.... they are better but we are talking small margins really. We went for QSC as it was the leader at that sort of price point... and for the 4 boxes, you'll pay £3-3.5k ball park. Others that can be a reasonable second were RCF... Mackie and JBL were in the second division but since we've stopped looking, JBL may well have decent kit to get gack in the game. Wouldn't rule out HK but QSC is pretty compact, decent sounding- in that you'd pay a lot more money to get much better and even the KW12's are light enough to man handle unless you are fragile. Andertons in Guildford have a decent room to A/B stuff but ring them for stock levels. They had QSC, RCF, Yamaha and a few others when we were there.

Don't say that.... I want to replace some Bergs and this thread isn't helping. But then £1200 services aren't helping either...

Any idea of budget..??

Yes... saw that today and having seen more pics of the 1126, it is clear the idea I had in mind was from the 112. Got to say, he has a good eye and that is another pretty cab. I can see why they appear to be so well made with that attention to detail

Good pic... didn't think the new 1126 had a port down there..??? rear ported..?? Will check in on their FB page Edit... ok, getting a better feel for the product range and spec now having caught up with latest pics

And that is what concerns me here. Why the secrecy..? What do you know about the band..? if next to nothing, then they aren't exactly selling it I must say I would expect better negotiations than this from their side. In the event that there is nothing much to go on... then ask what the split is for the band..and then ask the band what this is as the agent might be creaming more his way .. OFF YOU..!!! I am getting the impression that they want to pay a cheap rate, when the band really should be making sure you are the guy they want and sellit as much to you and you want to sell to them.

[quote name='mike257' timestamp='1381935385' post='2245726'] From the little bit of info I've had its basically function type work at a single location but I'll have 3-4 days off through the week. Flights and board are covered. I feel like I should be charging something for the off days because as said above its not like I can pop off and gig elsewhere! I don't know if charging full rate us the done thing so don't want to come across as hard-faced if its poor etiquette! [/quote] You are going to have to play it by ear and they should be telling you what the gig pays...but since they aren't, it suggests to me that someone might be wating to pay less than the contract rate and that will get you the gig before anything else...?? Not a good start, IMO. I'd give them a weekly fee.... as they should have given you. You must have some sort of idea... or these guys sound too chancey for my tastes..??