sixdegrees

I really wished these things were ever sold dahn saaarf.

Having a low B on a 4 string means that it would have to stay that way for a while, at least. Truss rod adjustment and re-cutting the nut would be the main concerns.

I picked up an OLP Stingray 5 in great condition last week for 50 quid. So maybe keep your eyes out for a bargain fiver for the low B.

For a spare bass - I like it to be as similar to my main bass and use it more as an emergency go to.

I'd be all over this if it had a maple board.

Beautiful bass.

6 m for instrument and effects loop. I used to use a wireless but found it compromised the tone too much (too much 'suck'). And one more thing to worry about running out of batteries.

[quote name='ern500evo' timestamp='1320479671' post='1427313']
I take it that was the one on ebay in Cheltenham then? I was tempted by it for that price but decided i don't really need it, although if it was the 4ohm version i might've gone for it! I agree with the "why make a 6ohm?" question, i don't really know why anyone would want a 6ohm cab rather than a 4 or 8ohm. Warwick must know that us bass players are simple animals, give us 4 or 8, don't confuse us! After all, as every non bass player will tell you, [u][i]we only play bass because we're not clever enough to play guitar[/i][/u]!!
[/quote]

You're not meant to admit that there's any truth in that ridiculous old chestnut!!!

Yeah, it was the Cheltenham one. If it had been 4 ohm I would've snapped it up and made the 200 mile round trip. They make a 4 ohm version now so someone who actually plays bass must've had a quiet word with the Warwick guys. Or simply slapped them about with a wet fish.

I snoozed and I losed with the Warwick cab. It got snapped up for under 200 quid while I was doing my research. But being 5 kilos heavier, and generally bigger than the Ampeg version, I'm kinda relieved. Why make a 6 ohm cab in the first place?!!?

I did just cheer myself up by picking up an OLP Stingray V for under a ton though.

Now looking at a Warwick 611 (6 x 10) 6 ohm cab. Anyone had any experience of these?

Meant to be 900 watts (1200 peak) but at 5.3 ohms. So I'd get about 700 - 750 using a 4 ohm head?

Now thinking of a cheap alternative to the Ampeg. Would the Warwick be as good as...?

How does the Super 15 compare with a 610 for high-end definition though?

Now erring towards a Barefaced Super 12 (I'd love two of them and an SVT 4 bridged at 2 ohms - sonic heaven!). Unless a 610 becomes available before I commit....

Spike - the only bad thing was the other punters being so quick in helping the young lady in question with her modesty.

Update; Just depped tonight. All the songs learnt and practised (by myself, no rehearsal) apart from one. And which song did I learn in the original key, while the guitarist had transposed it? But as the singer said to me 'that's the beauty of live music. Once it's done it's behind you and you move on and forget about it'.

It's not MY most embarrassing moment, but a few months ago there was an 18th birthday party going on in a pub I was playing at.
Towards the end of the night a buxom young girl stumbled into the FB monitor and crashed onto my pedalboard revealing far more than she would've wanted to.
All of a sudden I had chorus, overdrive and wah engaged, with a pair of knockers looking up at me.

I'm doing a gig in drag on Saturday (Morticia Addams), and depping on Sunday. So I'll sure to have plenty more entries by Monday morning...

Thanks Alex. The more articles of yours that I read, the less I trust manufacturers claimed specs!
The overdriven fart is what I'm trying to get away from at the moment. And that's with, albeit small, ported cabs.

*now staring at super 12s, while flicking through my wallet and shaking head*

Cool. I'm now thinking - two Ampeg 410 HE's. That way I'll have the choice of half or full stack, and not have to have a chiropractor on speed-dial, while getting the full potential out of the head. But if a 610 comes up in the meantime I'm sure I'll have another sleepless night...

Thanks for all the comments and advice guys. (but I do wish your replies weren't so varied. It would make my decision so much easier...)

The reason I'm drawn to Ampeg is [i]that[/i] tone. I've heard a couple in a similar live situation to mine and they're the only ones that really seem to cut through and sit in the mix. I tried out the PF500 a couple of weeks ago but was unsure about the headroom.

I don't like having to tweak, add pedals, use pre amps, etc.. so I thought I'd go for the SVT 7 head which includes all the features I'd want (onboard compressor, FX blend), without any superfluous knobs that I don't want but can't resist playing with. Basically, I want to plug in and play.

The main concern I had was headroom and portability. Two cabs allow the whole 1000 watts to be used, while I would only have to use one for smaller gigs and rehearsals (and still get 500 watts @ 8 ohms).

But if I did that - would it be better to go for a 115 to add a little low end, or another 410?

The Barefaced option would be a simple one if it wasn't for the budget I'm working with. I'll be looking at the second-hand market and the BF gear just doesn't get sold on!

Whatever I decide I'll wish I'd chosen otherwise...

Hi all,

I'm about to venture into the world of Ampeg and have pretty much decided on an SVT 7 Pro head.

But cab choice is giving me a headache.

Do I pair it with a 6 x 10 cab, two 4 x 10s, or a 410 + a 115?

I've heard from other users that the low end response from the 410 isn't great, while the 610 may be lacking the extra 'oomph' and not using the heads full potential. But would the 115 make the overall sound too boomy?

I play classic/hard rock, with some metal, covers. And I'm up against a hard hitting drummer and a Mesa guitar rig.

Currently using an Ashdown ABM with 210 and 115 compact cabs, and this isn't enough to cut through at the larger venues without the cones farting.

Any advice most welcome.

Classic Rock, hard rock, a little metal, covers

Ashdown EVO II. Pre-amp eq flat, bass cut a little, mids boosted, treble flat.

This is a general rule for what fits in my band. I also use an eq pedal so that I can engage the classic (but horrible in a band mix) big mid-scoop when slapping. And a slight mid-scoop when the other instruments drop out.

I find that, by cutting the bass a little and boosting the mids, I can cut through the mix without pushing the amp. If you play bass - mids are your friend!

Obviously the size and furnishings of the venue come into the equation. But so do people in the crowd. Clothing soaks up volume, especially the highs.

Oh, and I also use compression, switch between fingers and pick, jazz and P, use 45-105 pressure wound strings....there are so many other variables that are just as relevant to what makes 'your' sound. And don't forget that all amps are individually 'voiced' to give them their signature tone.

One man's perfume is another man's poison...

I have an original Jazz Bass Special in black for sale, if anyone's interested?
Passive and all original, apart from the tone and volume knobs (which are black Gibson style).
It's had a fair bit of action and the bridge and PUP poles are tarnished. But this doesn't affect the tone.

I've had it for just under a year (after being a Duff fan for years and wanting 'that' sound). But now need the funds to go towards a Precision that I want to mod to my own specs.

I will warn you that it looks good from far, but far from good... But the back of the neck is in great condition. And the frets are good for their age.

I'll post some pics later.