Jump to content


  • Content Count

  • Joined

  • Last visited

Posts posted by JD1

  1. Thought I'd give a quick heads up on the H115 as I've been using one extensively for a few months now. Its probably one of the best cabs I've ever had, It was originally one of the demonstrators and WoT kindly helped out when I needed a cab. I liked it so much I bought it. Tommy was great to deal with and mailed me a new grille and badge (and even screws) as the ones on the demonstrator were not up to scratch as it is a prototype.

    So what about the cab. Well its rated at 450w / 8 ohm. Very light (surprisingly so) and an easy one hand carry, Its a great shape / footprint and fits perfectly in my Golf. Its a great sounding cab on its own and changed my views on 15's. It has a big sound but it is very tight and focussed. Mine has a horn and sounds great slapped and is fast and responsive. I've used it in a few different blues, rock, funk and function bands with a range of heads and always had positive feedback on the tone - and its never broken sweat. The thing that stands out for me is its responsiveness to eq - especially mids, which can really cut through the mix if you want them to.

    I've changed my view on 15's because of this cab. I use it regularly on its own but sounds immense paired with my Aguilar GS112 (which because of the H115's shape it places the top cab at a great height), Its a shame this one is being discontinued in favour of the smaller version.

    If anyone is interested in one you might also want to check with WoT and Conan who have both also used it.

  2. Used the H115 last night and was really impressed. One hand carry. I used a GK MB Fusion 500 with it. Big sound but focussed. Tight, smooth lows, assertive mids and you can slap it! Very sensitive to eq changes and loud. Last night was a dep gig and it handled a quieter first half with fretless (my Ibanez GWB35 - sounded really warm and drew compliments from the band) and a louder second (with me whacking a Spector 5) easily with no hint of complaint. My regular gigs are blues rock and funk and I think this cab will cover all bases.

  3. PJ very helpful! As for the playability, if you are used to more Fenderish design they may take a wee bit getting used to (ergonomics and neck etc,) but not too bad - certainly not as much as say a Warwick Thumb. Sound wise I find them easy to move quickly from fingerstyle burp to a kller slap tone via the pups - so should be right up your street Conan! :D

  4. I had both the amp and cab. Couldn't really fault the amp once I got an attenuator for the DI. Only gripe is the lack of flexibility in the eq but the basic tone is excellent. No reliability issues and incredibly loud. Cab less impressive. I'd only recommend if space is a problem as they are very compact. However they are quite heavy, top end is a bit shy and it grumbled a bit when I pushed it - despite the power rating (not an expert but I guess thats down to the size of the thing).

  5. Awesome basses. Build quality, tone, versatility etc. Neck profile more "P" than "J" but very comfy and the necks are very stable. I'm very lucky to be a Spector endorsee and I only sought that having used a Spector for a number of years. Currently alternating between a Euro 5 LX (an earlier solid maple one with an EMG circuit) and a US Bolt On. Each has their own voice but the Euro definitely holds its own. Can't rate them too highly.

  6. Hi folks

    Recording a blues/rock album next month. Looking for a DI / overdrive / valve emulation pedal that I can use to have a seperate channel with some grit / top end gnarl (definitely not fuzz) to blend with a clean signal from my GK rig.

    Tried a Sansamp BDDI previously but not keen on the mid scoop.

    I've used a Line 6 amp previously and quite liked the Ampeg model. Do the pod's have the same models? Are the Behringer V amps comparable?

    EBS Micro II looks like it would do the trick and Sansamp Para Driver too but both pricey and I probably wont use it live so reluctant to shell out that much.

    The Aguilar tonehammer looks like a possibility but read mixed reviews on the AGS.

    Then I remembered the Hartke VXL. Anyone had experience of these? Do they have a dry / flat out to go to the amp as well as a post eq/effect signal for the desk?

    Any other suggestions?

    Many thanks for your help - sorry for so many questions!



  7. I've got both a GK Fusion 550 and a MB Fusion. The 550 is like a GK RB but warmer and "thicker" sounding although still relatively clean unless really driven. The MB Fusion similar but with less "grunt" and interestingly will drive easier (channel 2). Not used a 400+ so can't compare I'm afraid. But also bear in mind that whilst its not in the same league weight wise, the 550 is no lightweight.

  8. Did the Nashville, Memphis, New Orleans thing in '99. Great vibe in Nashville. Memphis not pleasant - apart from Graceland if you like that sort of thing. Beale St. was a bit "edgy". New Orleans was a bit tacky (and a bit rough in places) and as far as Bourbon street goes I can get a similar vibe in Whitley Bay with all the stag and hen do's. Music was crap but maybe we didn't know the best places to go. Highlight was Natchez but not from any musical perspective.

  9. I love 'em. I've got a couple - an earlier Euro 5 (solid flame maple) and a US Bolt On. The Euro has an EMG circuit and the US an Aguilar. I've previously had experience of the Tone Pump and it was fine - although the output was a bit hot. I prefer the EMG and Aguilar circuits and they both have nicely voiced mids which are useful for on the fly tweaking (as I often do).

    I just think Spectors are very versatile and they are great for cutting through a dense mix. They are well built and comfortable to play (although my Euro is on the heavy side). The necks are slightly chunky (more P than J) but not excessively so and as a result extremely stable.

  10. I've got a GK Fusion 550 and a GK MB Fusion. I thought having got the MB originally as a back up it might replace the big guy as first choice - but no. Back up it will remain. Definitely not the tone though. I can get a great tone out of the MB - especially channel B when its clipping. And its not volume as the MB is plenty loud. Not easy to describe (and I think WoT has alluded to something similar) - I just think the 550 has more "grunt" or "heft" to the sound. It seems "thicker" if that makes any sense. There's something going on with the dynamics when I'm playing that I prefer over the MB.

  11. I had one for a couple of years. Just sold it and replaced with a GK MB Fusion. I only really used it as a back up, but what an awesome little amp. Great basic sound and then more eq than you shake a stick at. Very loud too. Bit of a best kept secret I reckon.

  12. I've just changed from a GK NEO410 to two NEO 210's. Absolutely rock all to do with helmholtz passive radiator standing wave waffle sprocket dispersion. Easier to carry, easier to handle, more flexible configurations (including one or both as wedges e.g. for theatre work) and if I stack vertically then I can hear better. And to my ears sound as good if not better than the 410. God knows what the punters are hearing (DI or not) - but that's always been the case. I've not had any complaints.

  13. This has been my back up amp and as such has only been used a handful of times and is in as new condition. I'm only selling due to a GK MB Fusion incoming as a back up.

    500w power. Very small and light and extremely loud.

    Valve (switchable) in the pre-amp and VERY flexible eq (shelving, contour, 2 parametric mids and a switchable 9 band graphic). There is also a variable DI level and compressor.

    Can run down to 2 ohms and has both speakon and jack sockets.

    Will sort out pics but in the meantime see below - its one of these:


    Also, If anyone has a copy, BGM Issue 45 Aug 2009 has a good review.


    Collection only - I'm based in the north east.

  14. I had problems with one Stingray 5. The bowing however was from just past the 12th fret upwards so some of the higher notes were choking - especially when bending the strings up there. Because of where the bowing was the truss rod was largely ineffective. I asked Chris May at Overwater about it. They dressed the frets at the top end of the neck, so it was quite playable but there wasn't much could be done about the bowing. Chris put it down to a weaker piece of timber having been used for the neck and that he had seen it from time to time (not necessarily just on MusicMans) - and why Overwater and others such as Fender strengthened the neck there with carbon rods or similar.

    Your bowing problem might not be the same - but it could be that the neck is "weak" or the truss rod isn't working properly. Certainly don't over tighten it. I'd get a luthier to have a look at it - and as you've done, in the meantime string it with a lighter gauge.

  • Create New...