Muzz

I can't even see my comfort zone from here... This is what it's all about

Saw him live at Knebworth, I've never seen an artist hold a crowd that big so effortlessly in the palm of his hand. It was as remarkable a performance as I've ever seen. He's definitely an icon, it all depends on your definition of 'icon' as to whether that's a good thing or a bad thing...an icon after all can be defined as the visual representation of something, not necessarily the thing itself.

Given that the OP's question doesn't presuppose EVERY gig's gonna be like that, I'd take the money. I've played crap gigs to lots of people, and good gigs to tumbleweed, as well - it kinda balances out, and I'm not gonna get all precious if the venue/crowd aren't all that, as long as the band is, and I'm enjoying playing the music with them.

Depends on the gig: Function band 'normal' gig: both the Shukers (Dual-P and Bigman) Function band 'long night' kinda thing: I'll take the Dingwall (7.5lbs...) and Bigman Shuker Rock band gig: Dingwall and Dual-P Shuker Acoustic/trio gig: Michael Kelly Dragonfly acoustic, possibly Dingwall, too Some of this is set to change when I get my Shukerbird...

OK, I'm using Berg AE112s too, and there's definitely plenty of everything you could need from them - I do use three sometimes, but only because I can - I have a Magellan 800 that'll run three 8 ohm cabs, and, as Dood has alluded to, I like the extra height of the third cab closer to my ears on tight stages. Again, if your RH is giving you the volume and tone you like from your Jazz, it should be able to do the same for your P with some adjustment. I could understand changing your amp if you weren't getting a tone you liked from it at all, but you are, so there's faffing to be done before spending, I think... If you're missing the zing, what are the strings you're using? There's a cheap way of possibly adding some in... The plugs I use are ACS with the 15db attenuators - definitely worth looking at if you're not using any: they simply drop the sound levels without muffling or colouring the sound. Take a little adjusting to, but your ears will thank you.

The loss of clarity later on in a gig is simply ear fatigue...do you use any attenuation - earplugs? I'd say keep the rig for now and play with your mids - the RH has, IIRC, adjustable/programmable EQ - don't forget that what might not sound a great tone solo'd, especially at home, can sit very differently in a band mix. Which Berg 12s do you have? some of them will respond to mids very well... If your rig has sounded good with one bass, there's every chance it can be made to sound good with another, it's an EQ thing...and the RH has EQ presets, so if you end up with two pretty different EQ settings for each bass, you can store and recall them on a button push. Ask your bandmates for a bit of leeway at a rehearsal so you can faff about in a band setting with your sound. Edit: Yep, Warwickhunt's correct - I'd remove the 'Class D' thing from the title...it'll save a lot of mostly-off-topic hoohah later Further edit: Dunno about the Quarter Pounders in direct comparison, but all the Wizards pups I've had have been verrrry high output...that could be a factor, too...how do you run your Jazz? Both pups full? Just one?

I'm currently having Jon Shuker make me a neck...he'd be my number one choice.

I can only say that in many years of playing in bands, at least 90% of the time it's been fantastic fun. Sure, I've had a few run-ins with the egocentric and the delusional (mostly at the same time, the same person), but as a few people have commented, nothing beats playing with people who stretch you musically - you get better soooo much faster than you would in isolation. I love playing live, I love entertaining people, and even the crap stuff can be turned round when it's a shared experience between the band. I play in a couple of bands of primarily old friends, and also in a band where there are mostly deps, and both experiences are hugely positive. Different strokes, and all that, but I've never had people pulling my playing apart, and as for drunks, well, they're drunks, and can be very funny - there's enough threads on here illustrating that

I'm running three Berg 112s with my Magellan, which is more than happy with a 2.67 ohm load. Three small, light boxes, I don't have to take them all to every gig, most importantly the three stack at a good height for me to hear very well on tight stages. Oh, and they sound very, very big indeed. Another plus is the sound stays fundamentally the same, it just gets bigger with more cabs. If you've ever added a second identical cab, you'll know what I mean. One to two is a big step, and so is two to three. The main thing for me, though, is the height: I've used some very powerful cabs, but some have been so small I felt the best of the sound was hitting my calves...three 12s is a little bit like an old-school stack...without the bulk and the weight.

Let's not forget the red fretless 8-string Hamer Explorer thing...I hope he collected his bet money for that one...

We use some samples in the first set, some are triggered by the singist, who plays keys in the first set, and some we play to a click (in the drummer's ears) because they're more complex. We play the second set with two guitars (Singist switches from keys to guitar) which is all live. There's two different skillsets involved, one is to keep it all exactly to the prearranged click/sequence, the other is more seat of the pants playing. It increases the range of songs we can provide as a (semi)professional outfit, which is a good thing. As for the OP, have a chat, see why they're using them...then decide...

ABZ4 - John East U-Retro. Fantastic.

Always on full: if I want the bass quieter, I play it quieter, tho I will adjust the balance, treble and mids per the song requirement. I could live with it as a switch...

Bar Fringe (nearly) opposite the Band On The Wall is one of my favourite Manchester pubs, and just round the corner on Oldham Street, Gullivers do quite a lot of gigs.

Yup, I did this on one a couple of years ago. Not hard to do - one advantage of the original finish is that it's relatively easy to remove when you want to I refinished mine in Tru-Oil - another relatively fragile finish, but one that can easily be refinished again... Upside was the dark brown which I didn't like much is just a stain, and the body underneath was a much nicer, lighter colour, tho not a ton of grain.

I concur with Lewis' comments. Unless you're a part-time powerlifter, a quick question about the weight could be revealing - it can vary a lot: I had a 78 that was pushing 12lbs...

[quote name='mcnach' timestamp='1476191309' post='3152123'] ...be grateful you're not a ... tuba player! [/quote] Every single day. Not for nothing is the phrase "She's with the tuba player" one of the rarest ever heard...

Don't get me started on the Magellan...it's a great head - the two channels and two contours give an awful lot of quick flexibility...anyway, I've a fuller review somewhere on here. I ran my Streamliner with a couple of different Barefaced cabs, and they didn't reign in the bottom end, really - I was running the Bass control almost off a lot of the time, so 2 more 'conventional' 112s would change that...but if the BBT was struggling with the output, it'd have to be a pair of pretty, erm, robust 112s to get significantly more. Which is why I use three for the rock gigs. Huuuge plus point on small stages is that top 12 is a lot nearer my ears (we don't use monitors) - a few times I've taken all three but only plugged the top two in... Unfortunately I've never had Aguilar cabs, so I can't be definitive about them, but I would say that one thing to be wary of is that that nice sound in the shop/house can be a very different thing at high SPL in a band context. One of the most effective cabs I ever had was the Schroeder, and that was almost unpleasantly boxy and barky solo'd, but sat in a rock mix very very well. I ordered off t'internet, so I was kinda lumbered (luckily), but if I'd have tried it in a shop I probably wouldn't have bought it. Which would have been a mistake.

I'd say it all depends on how much you want out of the cabs - if you want to go very loud (which the Streamliner will do), then 2x112s or a 212 might not cover it (unless we're talking Barefaced). I'd suggest that the Streamliner could give two TKS 112 cabs a very hard time at high SPLs. If you're through the PA, just monitoring, and/or not in a rock band with a monster drummer, then the options are more open. I found the Streamliner a very very good head, but quite cab-sensitive, though you're on the right track with cabs which can curb that huge low end. Like Acroxixo, I found it worked very well with a Schroeder 1515L. FWIW, I moved to the Magellan, which is like the Streamliner 2.0 in a lot of ways, with two advantages apropos your OP: it doesn't have that runaway bottom end, whcih makes it more cab-neutral, and it'll run 3 x 8ohm cabs if needed. I run 2 112s in the function band and 3 in the rock band with monster drummer, etc...

Yup, one of my bands is verrrry varied stuff (Luther Vandross to Johnny Cash to GnR to Bruno Marsbar to Muse to all sorts), so I'll change style from fingers to slap to pick as required, and tweak the tone (always on the bass: two pickups and an East URetro does it all) to suit.

Yep, I had a Fusion for a while, and gigged a couple of different cabs with it, and it was very cab-neutral, if that makes sense...