coasterbass

[quote name='dave_bass5' post='244332' date='Jul 21 2008, 11:18 AM']Yeah, wot they said. Ive got both a 1210R and 1212L and agree with all thats been said about them. They might not be the ideal tone, especially when standing near them but out front the sound does thicken up without loosing the clarity and they get the job done. I feel that when these cabs get described as having a mid bump it can put some people off (it made me think a bit harder before ordering my 1210R) but these cabs seem to loose that once the sound has travelled a bit off stage and can sound very thick out front in the room. There is a recording here of my first time out with my 1210R and a LMII (on loan at the time). [url="http://myspace.com/wellah1"]1210R + LMII[/url] Nick. While i am in London we don't really do any public gigs and i don't store my gear at home, i keep both my rigs with different drummers but if for any reason i do have them at my work place you are welcome to come and have a play.[/quote] Thanks for this - much appreciated ! Schroeders certainly seem very popular

[quote name='jmccabe' post='242799' date='Jul 18 2008, 03:30 PM']I didn't spot Sara Lee in any of the comments, ex Gang Of Four after Dave Allen left.[/quote] So confused..... [attachment=10954:double_c...yer_cake.jpg] [attachment=10955:T057607A.gif][attachment=10956:davealle..._396x222.jpg]

Afternoon, I've recently sold my Ampeg rig to clear the decks, and I've now got my SVP and Eden preamps which I love to death. I'm now trying to work out which speakers to buy, and its soooo confusing. I've posted a couple of questions around this issue but haven't actually asked the question 'what should i check out'... so here it is. For 90% of my gigs I DI straight to desk, which is why I got the preamps. I don't need to fill venues with stage volume, however, some gigs need you to have a kick in the back to know you're there, and also I'm getting fed up of practicing at home with headphones! I run the amps in series, with the Eden as clean and the Ampeg as dirty with FX in a loop, so something that can handle this is needed. I play rock/pop covers. What I'm after is something that can give the balls of an Ampeg rig, with that bass that comes through your feet, and also able to articulate the mids. Sadly my car is small so I was considering 2x 2x10's, but I'm open to suggestions. Light is good, but not essential... compact is better, particularly the depth. For Bergantino I need to go to Leamington, Camden for Eden, and for Schroeder I need to go to Brighton, and a million other places for each manufacturer. Can anyone point me towards what I'm looking for and what I should hear?? Equally, if anyone has any of this type of gear in the London area and is doing public gigs then please let me know as I'd love to hear them. In particular if anyone has tried something like the Berg 2x10 and the Schroeder 1210 I'd be very interested to hear their thoughts. Thanks N.

[quote name='Merton' post='241023' date='Jul 16 2008, 04:18 PM']Maybe we should make it that you have to turn up looking like your avatar.[/quote] Think I should be able to manage that request

Can we have special categories for lefty basses ???

Depends on the size of venue, and the quality of both amp & PA ! I only use PA these days, but you have to make sure that there's enough foldback for you all to be able to hear the bass. Also if the foldback are only 10" or 12" drivers then you might hit problems... they aren't built like bass cabs generally. One thing to remember about cabs vs. PA is that its not all about wattage, its about dispersal... Basically PA's are designed to 'throw' the sound throughout a room. If your guitars/keyboards are all going through the PA and you're the only person left with a regular amp then their sound is going to project much further (and they will start to bleat as you turn up on stage to compensate!).

Here I Go Again by Whitesnake was a curious request we picked up a while ago. Other ideas... Britney "Oops i did it again" 50 ways to leave your lover Run to the hills - Maiden Bring your daughter to the slaughter - Maiden again You make me feel like a wh*re - Everclear Dude looks like a lady - Aerosmith She's having my baby - Paul Anka and my personal favourite... REM - the end of the world.

Oooo almost forgot!! "Out of Sight" (and a +1 to Oceans 11 etc.) I guess thats all David Holmes??

Am I allowed Lost Boys ??

[quote name='wateroftyne' post='237239' date='Jul 11 2008, 12:32 PM']As an aside, JPJ did use Trace cabs or amps or summat right at the end of LZ's career, I seem to recall...[/quote] I stand humbly corrected

Check the header on this auction... I was curious as to how Zeppelin had managed to get hold of an early early early Trace cabinet... but the details clarify all [url="http://cgi.ebay.co.uk/TRACE-ELLIOT-LANEY-4X10-BASS-SPEAKER-CAB-EX-ZEPPELIN_W0QQitemZ170237648804QQcmdZViewItem?hash=item170237648804&_trksid=p3286.m14.l1318"]http://cgi.ebay.co.uk/TRACE-ELLIOT-LANEY-4...p3286.m14.l1318[/url]

I think my original post is being misunderstood sometimes... I'm not critiquing the choice of 'exotic' cabs. I know they sound the dogs, and save thousands of pounds in chiropractor bills each year. My question was why for example, when I turn on my TV and watch Glastonbury, every single bass player has an Ampeg/Trace/SWR stack? The most exotic it gets is EBS. Why do the pros not arm themselves with acres of Glokkenklang, Schroeder and Berg ??

Just curious really... Having been a member here for 6 months now it struck me that before I was a member I'd never heard of Bergantino, Schroeder, Epifani and Mark Bass etc. I guess its because (to me at least) the main stream is still full of Ampegs, Trace, GK and SWR. Is this a fair impression to hold?? And if so, why do people think that is?? The only thing I can come up with is the weight issue... that handling 2 x 8x10 stacks is a little impractical for the average pub band/semi pro. Or is there a deeper issue, that by spending so much time on this forum we become more critical and continue the 'ultimate tone' search further than others? If so, why do the 'pro's' still stick to 'regular' cabs? Just curious as to what people think?

Quote from (non-medical) sources: "Also, there’s the tendency of performers to use only one ear bud.” (Ear bud is a term often used for the piece of the monitoring system that is placed in the ear.) Karl Cartwright, who works in new product development at Westone Labs, a Colorado Springs, Colorado-based manufacturer of a wide range of hearing protection and in-ear monitoring systems says, “People using one ear bud tend to run that monitor at a higher volume.” He adds those who wear a monitor in each ear usually run them at 6 dB less than those who wear just one. For those who continue to use just one in-ear monitor, Cartwright recommends alternating ears every few services or performances. “There is an industry misconception that in-ear monitors, like earplugs, are hearing protectors,” says Michael Santucci, president of Sensaphonics Hearing Conservation, Inc. a manufacturer of ear protection, in-ear monitoring and telecommunications equipment based in Chicago. “Unlike earplugs, in-ear monitors are capable of damaging hearing as easily as a floor monitor. They can be used as a tool for hearing preservation only if used properly.” I can understand the argument. I'd also find it a bit disorientating just using one IEM... a bit like when you catch the FOH full blast in one ear and it throws your centre of gravity for a second.

Thats great advice, thanks Balcro

[quote name='bassjamm' post='232678' date='Jul 4 2008, 01:30 PM']I have to admit though, i love the drive control on the SVP, i don't do distortion, but i do like it's tonal characteristics.[/quote] +1 to that. My SVT4 didn't have it and I never knew I needed it, but since i started using the SVP its the only knob i touch (pffnaaaar! ). It adds a lovely bit of presence too, and coupled with the bright and extra deep pads it's absolutely atomic!

Thanks for all the responses! I've enquired further and we have approx 150m for the sound to dissipate before it gets measured. This is quite good news. The venue backs on to the A1. This is bad news. We have no backline, and everything goes through the (sizeable) PA. This means its time for the PA engineer to prove his mettle, but I'm not sure how you make a drummer quiet?! Maybe give him some tricky algebra to mull over... There's two bands playing there before us over the coming weeks so I guess there's a fair chance the venue will be closed down by August... Apparently this is already a court case and not just an idle call to the council.

We're booked for a marquee wedding at an 'established' venue in the midlands next month. We've just been sent the following as a warning: "1 - they have very miserable neighbours who 'won't like rock', apparently they particularly dislike the bass.... 2. the have environmental health fitting a sound limiter this week which has to be set at 54db on the boundary of their property. This does mean it can be louder inside the marquee, but who knows how much. 3. we have to cross a river to get to the marquee - this can be achieved by footbridge or by driving through a ford" How exactly are we supposed to gig with that ?

[quote name='johnnylager' post='232547' date='Jul 4 2008, 11:33 AM']Coaster obviously means the alternative bash for lefties only [/quote] A select club of one it would seem