Muzz

Keep the MPulse, change the cab. I have a Walkabout and a couple of BF cabs (I only ever really use the ST): it's an ideal combination when I need Big Backline but don't want a slipped disc...you can use a BF ST and drop 40lbs from the weight of your rig, without (IMHO) compromising your sound. I only use the para EQ to cut the very bottom end, too: it works very very well...

The main thing is it's been strung by a pro...

If I put the Shukerbird or the Dingwall on my left leg I can barely see the first fret, let alone reach it...

Absolutely - the sensible thing to do would be for me to move on the 15" Compact and replace it with a SC to stack with the ST; you know, they have the same drivers, etc., but...those overhangs...eeeeek. 🤔

Yep, I'd agree with lots of this: the ST is plenty for even the loudest rawk band I play in, and with the wheels is a relatively easy schlep, so I'm keeping it for the time being. The only thing I'd change it for would be a pair of SCs (which would free up my just-in-case Compact, too), but I haven't got the £££ right now... The Rumble works on the smallest stages, where even the relatively small-footprint ST is too much (and it's always too much sonically for gigs like that) and we haven't got the bigger PA so I can go backline-free and IEMs...

I've used the Rumble 100 for three or four smaller gigs now, with just a little bass into the PA (which is itself very small: a 12" RCF sub and two small Bose S1 heads*) and it's been fine: plenty loud enough, and super-convenient for simple gigs. Not sure the core tone of it is exactly me, but as I have a Stomp in front of it, it's not really that important - I'm EQing it as flat as I can get it. I was seriously considering a SC (as well as my ST) for a modular setup, but they don't stack in a pleasing way, and I know it'd drive me mental...the old Compact and the ST, however, are visually stacktastic**. * These things are ridiculous for their size/weight...and they'll run off batteries, too... ** Maaaaan, I'm as shallow as a puddle... 😕🙂

You definitely do if the singer is as unaware of the issues as you indicate. Include the setlist in your messages so that everyone knows exactly what they need to know for next time, if the three of you can present a united front, it'll help.

Over the years I've bought and sold dozens of basses, and it's been a great thing: I've owned more or less everything I've ever wanted to try - Alembics, Stingrays, Jazzes and Precisions old and new, boutique stuff like ACGs and Seis and Shukers and Overwaters, and Epiphones and Gibsons and Yamahas and Ibanezes...even a Rickenbacker 😁 And the best thing is I've not just plonked on them in a music shop, I've lived with them and gigged them; some for a short time, others longer, and I know now exactly what I like in a bass, and exactly what I don't. It's not an illness, it's a journey and an experience which, unless you're unlucky or a bit daft, needn't cost much. 🙂

I've been on a bit of a search/quest: since November, I've bought six (one's a custom build, so I haven't technically got it yet) and sold four.

OK, so you need possibly 25 songs to fill the time, you have 9 hours rehearsal to get them squared up, and the singer wants to burn 2 hours on one song? If the singer doesn't get how stooopid this is, then he's an idiot. Which might have longer term implications than for this one gig. You've got two rehearsals left, I'd get the whole band behind a setlist (via emails), get them learnt and get it run through as soon as you walk into the rehearsal room. If it sounds good, the you can go back and take a little time to work on individual songs. Do the other two in the band share your frustration?

Yep, we've had 90% of those ^ in our set over the years...

I like most of their albums (tho I too tailed off in the 90s) and it's not an album per se, but the Rush In Rio DVD has an awful lot to like in one place, not least the energy of that mental crowd...and I could watch Neil Peart at his kit alllll day...

We played all these as a trio on Satdy night; not in the exact order (we don't have a setlist per se, the singist just calls them), but certainly in chunks...no Sex On Fire or Valerie, but Superstition AND Long Train Running... 🙂 Dancey Stuff: Play That Funky Music/Superstition/Good Times/Long Train Running (segue) Lets Dance Le Freak Free (Ultra Nate) Lady (Modjo) Get Lucky Hey Ya Take Your Mama Out Kiss What's Going On/Mercy Mercy Me (segue) Summer Breeze Acoustic-y: Jessie's Girl Africa (Mike Masse) Hotel California Hold Back The River Wanted Dead Or Alive Copperhead Road Hey Soul Sister Acoustic Singalong-y: A Little Respect Bomboleo Volare Take It Easy Don't Look Back In Anger Half The World Away Go Your Own Way I Am The Resurrection This Charming Man One Day Like This Loud To Finish: Not Nineteen Forever Are You Gonna Be My Girl Teenage Dirtbag All The Small Things Smells Like Teen Spirit

I can't bow down...not with my back...

I have a Super Twin which I use with a Walkabout for loud backline gigs, and at the other extreme I use inears with no backline at all, but for smaller acoustic trio gigs when we take minimal PA (meaning I won't be going through it), I've recently bought a Rumble 100, and the results have been pretty damn good. It's crazy light and markedly smaller than my ST.

So licking the wax off before squidging them back in's a no-no, then? Asking for a friend...

Given that I was previously unaware of Mr Jemmott's contribution to the oeuvre, a state of affairs I have immediately rectified, I rather think (with due thanks to Skank) that I might be the take-home winner from this whole brouhaha...

GJones speaketh the truth...I have an early Compact which I bought to make a full stack with my Super Twin*, but I've used it on its own where I want something a bit lighter/smaller than the Super Twin, but need to retain the option of removing plaster from walls...it's still a great cab. * I knowwwww, I just got carried away, OK?

I'll have a pint before/during the first set, and another in the second. It won't be Turbo Nutter B*stard Lager, it'll be a low-alcohol mild or bitter, but it's just a nice zoning thing for me. I don't drink much; actually, if it weren't for gigging, I'd rarely drink at all...

I always, always look forward to gigging, tho on the day/night I'm never nervous, just keen to get on and get going. I don't mind the punters, mostly, as long as they're not hammered experts...two things which amazingly seem to go hand in hand...

Splendid. I'm printing this out and leaving a copy lying around the house, just to add perspective to any discussions about new basses entering the fold... 🙂

I had a gig Satdy night at a space-challenged pub, so I took the Rumble 100 112 I'd acquired for just such events. It was acoustic geetar, drummer with hotrods (initially) and I'd imagined if it got loud I'd go into the (house) PA, but thanks to parking issues (£9 to park for a gig?...pffft) we didn't have time for a soundcheck, and the singist got into a flap about it, so I wasn't in the PA at all. The Rumble managed it alongside the drummer, who got pretty loud (he ditched the hotrods) - I had it cranked just under Thrashed To Death, but it managed, so I'd say a bigger Rumble would be a lot better is the lad wants a decent amount of backline. With a decent PA, the 100 would be fine for a stage monitor (plus it does the Aux In/Headphones thing, too), and of course it's pretty damn small and very light... For what it is (i.e. a cheap, small 112 combo) it performed pretty well...

Just as an aside, the 414 I bought has really grown on me: it's much better for my purposes than the 1024x I briefly had, and that P-pup is a belter. I originally bought it for a song, thinking I'd be doing a fair bit of work on it (bridge, nut, tuners, pickup, possibly a John East EQ), but the more I play it, the more I realise it needs nowt*: I put some Elixirs on it (thereby increasing my overall investment by a significant percentage) and it's terrific as a passive P. I was in a similar position back in the day, when the backup to my BB3000A was a boggo BB300, and there'd be gigs when I just wouldn't bother with the posh one... * OK, possibly some Hipshot Ultralights, but that's pretty much window dressing...

For me, the only real stinker has to have three things go wrong at the same time: a bad performance, a bad sound and an indifferent/absent crowd. Any two of those three doesn't really count, as I enjoy the other one enough to not bring me down. And, thinking on, I'm not sure I can recall the last time that was the case...

Nope - I work on sounds at home (I'll borrow a PA top to get the EQ right, because I made the mistake at first of EQing for headphones, and it sounded ropey through the PA), make the odd tweak at rehearsals, and then save them as presets. It's very very easy from the laptop. Then I put them into a logical order (and I don't have THAT many, although I have several banks/iterations in different (dropped) keys...oh, and a differently-EQ'd set for if/when I'm using my rig - see above), and just use the Patch Up/Down switches to select. Simples. It has to be Simples, otherwise I get confused. I'm only a bassist, after all... Edit: that sounds more complicated than it is, so an example: I'll have a Rock Drive sound, then I'll copy it (and detune) to Rock Drive Eb in a run/bank of patches for Eb, then possibly Rock Drive D, then I'll have a Rock Drive Rig, with an EQ tweak. I'll never need all four on one gig, so I only ever work in one bank of possibly 8 presets per gig, each in the same order, all the Eb ones together, all the D ones together, all the Rig ones together. The next patch to Rock Drive might be Fretless, and in the Eb bank there'll be Fretless Eb, etc.