Muzz

One of the best things about the Walkabout head is that first parametric band: I set them both extreme left, so it rolls off (according to the dials) 15db at 30Hz (and tho I haven't seen the shelving, presumably more than that), and it sounds soooo much better in the real world...even though (or possibly despite) the BF cab having very good very low extension, in virtually every scenario, I don't want it.

And don't forget that producing any significant output at 30hz will, in an awful lot of venues, sound godawful...

More my era of Rush, but this is terrific, too, especially the vocal: I've heard Geddy worse...

Never really paid that much attention to tweeter type, as long as i could turn them off...the tones I use don't usually trouble normal bass cab tweeters 🙂 The Markbass ones were particularly horrid, though...

Like Chris B, I've played mostly Bergs and BF for a good long while now (tho I've had MB cabs, too), and if I was playing in different bands than I am, and got to sit down and listen to my cab a lot on its own in a Scott Devine kinda way, I'd love a Berg HDN212 just for the hell of it, but my Super Twin does exactly what I need lighter and more easily handled - 40lbs and wheels is genius 🙂. I've total confidence in that whatever I put into it, and however loud I need it to be, it'll deliver. I've run it with Class D stuff, with lots of effects, and with a warm Walkabout, and it produces what I put into it. I've never met a tweetered cab I liked (or at least liked until after I'd turned the tweeters off - the AE112s were an example of that) so my tone goals are different to yours, but I'm sure a Big Twin will do it. Oh, and we use RCF ART735s in our PA, so I get to play through those (and a sub) a lot, too... 🙂 Edit: the 735s are so good we're seriously considering dropping the sub and going for 745s instead, for small to medium venues... Edit 2: Actually, I have the PA here under my stairs, so I might just dig out one of the 735s and have a play later, just to see how loud it'll go with a bass... 😁

Yes, I had a bit of this - I was looking (at the time) for a new build, and contacted Adrian a couple of times, but got no reply, so I went elsewhere. It's a shame, because the Maruszczyk basses I've played have been very nice, but it's not untypical for a small business that becomes very very popular very very quickly...I hope they get on top of it all, because they're a terrific builder...

That's at least a couple of new Ricks, I'd imagine... 😀

You mean it's one careless cough away from a cataclysmic shart event? 😃

I shall keenly await a TC-like witchhunt about the fudged power ratings... 😃 If I won it, it'd all be up for sale on here the day it arrived...still, it's a lot of cash... 😉

The Flying Horse in Rochdale is one of my favourite gigs: it's the last pub open in Rochdale town centre of an evening, so we don't go on till half ten or so, and don't finish till oneish. Always lairy (there's three bouncers, and it's kicked off to some extent I think every time we've played there, usually catfights), always lively, and they love a live band and a sing-song. Great fun...

I love the blue...when I bought my Jetglo, I had the choice of that or blue...Geddy won, but I always regretted not going for the blue...

Ohhhh, ISWYDT... 😃

...and he's not on Mr Hall's Xmas card list, either... 😃

Furious Cat is furious...I take everything back... 😕🙂

Not this again? Geddy's on record as having used his Jazz as well as his Ric to record with (on plenty of songs considered to be iconic to the Ric sound), and he's dropped the Ric completely...pushing forty years ago. Similar situation with Foxton and his Precision. I should have written 'didn't use them exclusively' with the studio recordings in my post above, so apologies for that, but the fact remains, however inconvenient. I've never played a '72, they may well have something the ones I have played (and owned) didn't have...and I've moved on basses by Alembic, Warwick, Status, Sei, and all the more usual suspects like Fender, Gibson and MM, and settled with what I like and won't sell. It's a nice place to be, and I'm glad your Rics are that for you. That brand new one I bought was still nowhere near good enough build and finish-wise for a £1600 bass. For the record, I was gutted.

How very dare you... 😁

Yeah, I used to do that when I used Sunbeams. Until I got a set of cheap copies...

D'oh!

One very good step we took was to have an ambient mic (we've only got one at the moment, we could add another, but we're a three piece and we play some small stages) to give the in-ear mix a little 'air' - it takes away the clinicality of the experience. Plus you can hear each other to talk during soundcheck without popping one of your in-ears out... 😀 And yeah, with a Helix and a good guitarist with an ears for sounds, the guitar sounds terrific. I use a Zoom B3, which is good enough for me. The drummer's the biggest tech-head in the band, his little kit sounds huuuuge when he wants it to... Ultimately, it all means more control. We've invested time into getting the band to sound good across the large range of songs and genres we play using the modellers and the PA, and we have a set of saved scenes we can work from, depending on the room dynamics. We're so much more consistent than turning up and the three of us having a best guess at EQ independently, and then having to work from there to a band sound. As I mentioned, we play across too many genres for that to work properly in the limited time we usually get for setup and soundcheck, so modellers, DI and in-ears have been a massive plus. And my tinnitus thanks me every gig...

If price is an issue while you're trying strings out, you'll find the D'Addarios £10-15 cheaper than the DRs...

I've run in-ears for a good while now, and EBS_freak is bob on: a wired backup pair is much cheaper than a backup anything else, rig-wise, and unless you're on a huuuge stage wayyyy behind the PA, if your in-ears go, you'll hear enough from the PA to finish the gig - it's a breakdown/emergency situation, after all). We all have an independent digital mixer feed for our in-ears, mine runs off my iPad, it's usually to hand. No-one else touches my in-ears mix. We use drum triggers and no backline for pub gigs upwards, it sounds good.

Brightness and zingyness? I'd second the ProSteels...

Girls dance to the bass. Now that's important... 😁

They're, erm, ergonomically challenging and certainly Marmite...I had a new 4001 in 1979-80, my first 'really good' bass. Played it for several years, and moved on. I love the look of them, so for my 50th I paid full RRP for a brand new Walnut 4003. It went back the next day. A £500 bass with a £2000 image... If they weren't so much money secondhand (£1300-1400 for a used £2000 bass is a lot of money for me) I'd possibly try another, but it's a lot of money for Pot Luck to be a factor, and there's more than one thing that can go wrong with older ones... Interestingly, a lot of the 'iconic' players (with the notable exception of Mr Squire) either moved on fairly quickly, or didn't use them in the studio for the 'iconic' sound...I'm thinking Messrs Lee and Foxton here...