grandad

Hello gsgbass, Thank you for posting such good pic's. This is the one bass that I would like to own. I'm thinking maybe I should sell my other 3 and just buy one of these. As a firm flatwound convert I'm particularly interested in the choice of strings and should you care to give a detailed review I would be most grateful. Enjoy. Regards, Chris

Just read "TA-RA-RA-BOOM-DE-AY" by Simon Napier-Smith. I thoroughly recommend it. As amateurs we may get to enjoy our music the most.

I tried replacing the speaker in a Roland CB100 with a Celestion Neo some time back. It sounded - not to good.

PM'd

I love the looks & low down sound of these, my favourite bass. I have a Tokai copy which is good, but, should I sell my 3 basses & buy one of these? Tempting.

My usual set-up and the rig I kept as my preference for easy transport, easy setup, versatility, reliability and good sound for most pubs and clubs is a Yamaha EMX powered mixer. I use EV SX300 12" passives. Not too heavy. A little top cut mellows their brightness. For the occasional pub/party disco I tried a pair of EV SXA100's, (powered 12") - great sound. I wasn't too keen on long mains cables though. For a sub, (would you believe), I used a Roland KC150 keyboard amp. It worked well. You might think about changing/upgrading the Behringer mixer and maybe try out a Yamaha Stage-Pass or similar if it's just for vocals. Lots of well meant advice on here but try before you buy, good luck.

I've used the EMX5016CF for several years with EV SX300's for a 6 strong cover band. The manual is well written. The anti-feedback works well and the multi-band compression helps the vocals punch through the mix. I progressed through several mixers before ending up with this one. I carry an EMX512SC as a back up but have never needed to use it. It is relatively light with plenty of power for most pubs and WMC's. I recommend a good case whichever you decide on. Working the PA is a learning curve from venue to venue. Sometimes it seem a thankless task & diplomacy is an asset. Best of luck.

The best live mix I remember was June 2006 at Broadcasting House to see Cat Stevens record a Radio 2 live show. Recording was in the booth at the back & FOH was mixed at the middle rear of the theatre. I sat just to the right of the engineer watching him make suprisingly few adjustments throughout the hour. The lighting was also top notch. The theatre held about 200 & I can say the sound was just perfect, vocals & instruments, acoustic guitar, electric, bass, piano, & percussion. Recently I saw Joe Brown at the Lichfield Garrick & there also, the finals for the best UK tribute band. Both times the sound was excellent. The engineer who must have been as busy as hell on the tribute night did a great job. The theatre seats 562 so quite small. My last big venue concert was Birmingham NIA to see Bob Dylan. I lasted less than 1 hour before walking out to rest my ears. Symphony Hall next door is superb, I think one of the best venues in the country. Saw Hank Marvin there. Some venues must be an engineers nightmare to get right. Throughout my amateur experience I found some stages impossible to lose the boominess. Other venues presented no problems. Textbook sound engineering is a fascinating subject but I think the practical experience is where you gain confidence & we all have to start somewhere.

[quote name='Coilte' timestamp='1417602069' post='2622062'] Same here !! [/quote] Van Damme & Neutrik. Same here, make them up myself. Some of the claims made & prices charged are quite astounding.

It would be nice to hear from anyone that bids.

There must be a fair few losing their jobs. My local music shop, (sadly now shut), used to compliment Peavey on their backup & training for dealers. Peavey - reliable & value for money - which is why I've had two Max160 heads for years of gigging, and never had to use the spare. The Max450 was traded in as it was to powerfull for my needs. There are some interesting, papers on [url="http://www.peavey.com"]www.peavey.com[/url] under Support, Tech notes.

[url="http://www.proaudiocovers.co.uk/"]http://www.proaudiocovers.co.uk/[/url] - good quality, padded, good service or [url="http://www.roqsolid.co.uk/wp/"]http://www.roqsolid.co.uk/wp/[/url] - good quality & service

Hi there, I also use my Ampeg B115E as my main giging cab and love the well balanced tone across all 4 strings. It's easy to lift with hinged and sprung side handles also easy to move on castors. And it looks cool. I briefly owned an Ashdown ABM 115. Tone-wise it had huge low end but little else. It was big, weighed a ton, uncomfortable side handles and no castors. The Peavey TVX 115 I found fairly close tone-wise to the Ampeg. Why not replace the speaker if the cabinet is still sound?

As I understand it, speech intelligibility is covered by approx' 400 - 3400Hz, the telephone bandwidth - so 'dial-a-disc' was always going to sound crap, (age showing). To give a singing voice clarity, particular frequencies are given a little emphasis. These are usually around 3 - 5 kHz. They identify a particular voice. So, Danny Hutton from 3 Dog Night sounds different to Tom Jones when singing the same words in 'Mamma Told Me Not To Come' because their vocal bits & pieces have different dimensions & they use them differently, (speech experts have strange names for how our vocal mechanics work). These frequencies help emphasise the nuances/distinctive character of the singers voice & "place" the vocal in front of or above the backing instruments. I think an engineer would do this with EQ & a presence control just picks out those frequencies without us having to know precisely which ones they are. This is only my understanding & I'm just a keen amateur so others may correct me.

I'm really pleased that things turned in your favour. When others start shouting and cursing I tend to remain calm, quiet and polite. Give some folk enough rope and they will invariably hang themselves showing their true colours. You didn't allow bad behaviour be an excuse to act in a similar fashion. Courtesy and politeness will contrast and expose bad manners. Your patience & perspicacity do you credit. My brother and I, both long in the tooth, called it a day last year feeling that friction between 2 band members was spoiling the pleasure. We parted before any 'explosion' occurred and on good terms. We now pick and choose where and with whom we play & exclude any 'nutters'. It did seem crazy to throw away 10 years or so of playing together just because of silly personality clashes but some folks just don't appreciate what they've got till they lose it. Maybe some learned member would like to start a thread entitled "There always seems to be one - " . With relevant contributions on human physcology from those with some insight into this minefield.

Lay Down Sally

If it was a 115 then the spec is 3kHz at the -3dB point. I have the B115E which has nearly the same spec as the SVT cab. I prefer no tweeter & like that warm low end but it probably wouldn't suit the majority of modern bassists who lean towards a more hi-fi-ish cab/tone.

Purchased an EBS Session 60 earlier this year & I like it. Quite decent lows from a 10".

[quote name='Stompbox' timestamp='1411592706' post='2561059'] Hey Grandad, What flats do you use? I'm a convert to flats - I have tried the Fender, La Bella, D'Addario Chromes and the Black Nylon wound flats. Which are your favouri tes? [/quote] I use Rotosound Jazz Bass 77's - RS77M & RS77S, tension & tone suit me fine. Strings are such a personal choice, I think you have to try a few out before you get the feel you like. I quite liked the black tapewound RS88LD's on my Jazz & the SM77 on my P but I sold both & now have just medium & short scale instruments. I got old & lazy!

I put a new set of flats on all my instruments when they arrive & that's it, they never get changed again.

I don't think I'll ever part with my Ampeg B115E cab. To my ears it gives an even warm tone across the bass spectrum, it's made of ply, good handles, on castors & easy to move. The Ashdown equivalent I tried was the ABM115. Tremendous low end, someone mentioned mud, & not much else. Very heavy - chipboard, I could hardly lift it. I have used Peavey TVX cabs, great value for money, but I agree with the majority advice & say stick with the SVT range.

I've kept cheaper instruments & sold on more expesive ones. My Epiphone Viola feels & sounds better than the Tokai version. Conversely I found my Tokai EB3, (my favourite to gig), to be as good as the Gibsons I tried. The Speakeasy Bass Collection I had, to me, was hardly any different to the MIJ originals I owned. My first 2 intruments were a Jazz & a P from Legend & were excellent. I hated the Fender Hot-rod P, it weighed a ton. I think there are some good quality instruments to be found nowadays at fair prices. Far-east QC is bettter now. I've been looking at the Ibanez AGB200 lately. I've not played one but by all accounts Ibanez are finished well & value for money. I do find that I have to string, set-up & play an instrument for a few weeks before deciding to keep or not. Sometimes the strangeness or feel or tone of a new/different guitar needs to be mellowed with time. And sometimes I'll favour one over another & then later reverse the favouritism.

I'm happy with my EBS Session 60.

2 sets of 16 numbers + encore of 3.