Dave Tipping

No. It's light as hell thanks to (neo speaker ..and minimal bracing ), sounds good, goes more than loud enough and was cheap. Cheers for all the comments above .. I'm def. gonna stick some internal bracing in and line it with dampening .. as I said if it doesn't make a difference I've wasted a couple of hours and very little dosh, if it does then great!

Fantastic info bill and nice sketch up model! It was a cheap cab so I figured it was missing both purely down to costs. With regards to the dampening does it matter if it partially blocks the vent? Also would there be any need to surround the dowels with anything? Thanks again for the clear info.

... In my typical manly way of having to take everything I own apart , I discovered tonight that my Laney Nx115 Cab has NO dampening at all .. and also no internal bracing . It really doesn't sound bad with my Orange head .. but I have been dialling a fair bit of bass out the eq to get it sounding how I want. Questions : 1. What would be the best method of bracing it? Metal threaded rod? Timber dwangs spanning from one side to another? Timber/ ply fins glued internally? 2. What would be the best material and fixation method for the dampening? How much would I need? (read something from Bill Fitz suggesting 2"?) ... I reckon it's worth a shot .. if it makes no difference then hey ho .. if it makes a negative difference then i'll take it out!

Had a belter last night! Got another 4 or 5 functions from it. Was a big bikers get together ... 300-400 scary tatoo'd up largely male crowd and the dance floor was packed all night!

Yeehaw! Cracking amps eh? I literally couldn't leave the shop after playing one for the first time. One thing to note is the tone controls do work really well on the amp .. but they are more subtle than other amps I've had so you need to be a little more daring with how much you dial in ... that said it's great as it is pretty difficult to get a bad sound out of the amp. I play in a pretty loud pub band and I've not managed to get it near 12 o'clock yet! It's a seriously loud little beast.

My little terror bass head is a keeper for sure .. can see me getting a midget cab in the future for an ultimate tiny amp set up .. but my customised laney 1x15 is really light, looks and sounds great. If it ever broke I'd buy another tb head in an instant .. seriously the best sounding amp I've ever played through. So much volume and so much valvey tone at all volumes.

I use one on my P .. looks the business (i.e. close to the orig) and it was only £30 ish from ebay had to get it from the US though. Works really well . pretty much a must for my current band.

Me ... don't tell anybody

After being so impressed with mine (and the concept) I've put together a couple of pads for our stage monitors made by sandwiching an acoustic ceiling tile in between two foam backed carpet tile samples and taping it together .. you can easily get noticeable results DIY'ing it .. I've been able to get a decent bit more volume out of our monitors before them feeding back for free! For me the gramma pad is good value for money though. It's really well made, looks pro, lightweight, sturdy, comes with a carry handle and really works. When you consider the amount of money we all spent on our amps and other gear .. £40 for a nice looking plinth and for it all to sound better is well worth the dosh.

^^^ The best one I've heard yet!

... I just remembered another! It wasn't quite an audition .. but, I got asked to "help out" on some recordings with a band .. so I put a fair bit of work in and wrote 5 or 6 bass lines for an ep. then went into the studio and recorded it .. at the end of it all I got a text asking for £500 towards the studio time ... I never did get a copy of that cd!

[quote name='icastle' timestamp='1330970209' post='1565592'] +1 Just out of interest, has anyone here actually gone to an audition and told the band they've failed? [/quote] Twice .. one time with an originals band. They sounded great on recordings .. but at the rehearsal I think I knew the songs better than they did! That was an easy one though as I was in another (covers) band at the time .. I just told them our manager had just given us the dates for the next few months and I was going to be way too busy. The second one was very strange .. I guess it wasn't an "audition" as such .. they had seen me play with a previous band and asked me to turn up to an "audition" I turned up a little early to the studio and was mucking about on my bass and running over one of the ten or so songs they had given me when two of them came in half cut and said ..we were listening to you oot side bud you've got the job. I said nice one can we run through a couple of tunes .. they said nah it's cool we've not heard fae the drummer anyway .. you'll be fine. This then turned into a bit of an argument when I suggested that I might want to actually play with them and see how I felt about being in the band .. I walked away.

[quote name='Roland Rock' timestamp='1330955782' post='1565277'] IMO having a valve amp for clean is far from pointless. I vastly prefer my current (valve) clean sound to my previous (SS/hybrid) ones. [/quote] Totally agree with this .. I don't use my terror bass head for anything but clean. The clean 'warm' valve (like) sound (can't think of another way to explain it) is what sold me on the terror bass. Never before had I been able to get a nice clean valve sound from anything but all valve.

Sold my V4b after playing with an Orange terror bass. The ampeg was great but I honestly don't miss it .. the orange really nails the valve tone without any of the valve hassle!

No .. all I meant was if you read the rest of this thread you would find out what a number of people think about the unit. I can't comment much about the quality without putting it through an amp, but through an amp at volume the distortions are very good and not fake sounding .. for the covers I do I use the sansamp, the boss and the bass muff, a mixture of a couple of chorus effects, the phaser, the synth (for katy perry ~ I kissed a girl {cringe!} .. it does sound exactly as per the record though) and one of the compressors. The great thing is I've spend a fair bit of time messing about with sounds etc .. but I keep finding new sounds all the time the more I tweek things .. also the ability to stack three distortions, or other effect at the same time is brilliant .. esp. when you need a totally over the top effect.

Bren, couldn't have put it better. I also play in a covers band .. just away to head to my third gig in as many nights. I used to take a large pedal board with 8 pedals on it I know take my guitar case which fits my b3 in the pocket. Also I've had nothing but compliments from band members esp. Due to the lack of any faffing between tunes .. also I find the control on each effect to be superior to the original pedals so I can get way closer to the records than I manages before.

Paubass .. didn't mean to be cheeky, but u have mentioned the quality of the distortions in particular in the rest of this thread. They really don't sound digital at all and from my experience with a number of the real pedals in a live environment I don't think anybody would know the difference. The added bonus is no knob twiddling between songs and with the mix control on every effect allows you to blend each effect with your clean sound.

Just in from my first gig with the gramma pad tonight ... First impressions are very positive! In addition I nicked a couple of acoustic ceiling tiles and dense foam backed carpet tiles from my work and built a couple of pads for the monitors and for under our singers heavy circular based mic stand. Starting with the monitors ... the pub we were in tonight has very hard surfaces around the stage area (tiles everywhere and timber floor. With a bit of ceiling tile and carpet isolating the singers mic from the monitor I was able to get her monitor considerably louder without it feeding back at all. On to the bass, As others have stated the pad really does get rid of a lot of mush and tighten the bottom half of your sound .. the one think you have to do almost instantly is adjust your eq from your usual settings. For me this meant dialing back in a bit of bass. The one think that took a bit of getting used to was the fact I was getting a fraction of the vibration I'm used to feeling it through the floor .. that said I actually had my amp a little quieter than usual .. not for any other reason than it was cutting through nicely and sitting great in the mix. This whole de-coupling idea really does seem to work to great effect (I guess It's fairly obvious why). I've got another gig tomorrow night .. then on Sat so I will report any additional findings then.

[quote name='PauBass' timestamp='1330632895' post='1560844'] ummm, very, very tempted What are the overdrives/distortions like? Do they sound anything like the real pedals they emulate? [/quote] Yes.

[quote name='leftyhook' timestamp='1330470597' post='1558157'] ... Aaaaany bass can sound great with good strings in your bedroom/demo in a nice little studio on youtube. [/quote] I agree .. here's a short vid from a gig last month supporting the "sex pistols experience" .. not our usual set but a really loud gig in a club and badly recorded on a mobile phone. With the tone knob cranked I never have a problem sounding full but still punching through. [url="http://www.youtube.com/watch?v=HOzITi45yS8"]http://www.youtube.com/watch?v=HOzITi45yS8[/url] I'm sure a better player than myself could get similar ..or better results with a beaten up [font="helvetica, arial, sans-serif"][color="#282828"]Westfiled. I'm hoping you're that man. Post a quick vid of your next gig as I'm interested in seeing what a cheap bass with good strings is capable of in a live environment. I'm looking for a cheap back up bass and if you convince me I will be saving myself hundreds![/color][/font]

[size=4][font=arial, sans-serif]... guess what, you just brought a gun to a bomb fight! [/font][/size][font=arial, sans-serif][size=1] [/size][/font]

It was from reading about the thumpinator that gave me the idea to try a passive audio one in the first instance! That in turn lead to the thread on TB where somebody tried a 30hz HPF. I'm sure this cheap and cheerful attempt at solving the problem will not be up there with the thumpinator ... But for a tenner It's surley worth a punt?

This is the thing I was looking at ... [url="http://www.ebay.co.uk/itm/290586209090?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649#ht_752wt_1141"]http://www.ebay.co.uk/itm/290586209090?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649#ht_752wt_1141[/url]

I like the idea of getting rid of subsonic frequencies that may be working my cab harder than need be and was wondering if anybody here had tried a passive FMOD inline HPF? Somebody on TB had mentioned trying a 30hz one and it making a 'big improvement' but not removing as much as he had hoped. I was thinking of trying a 50hz one .. I play a 4 string plus based on his findings the roll off probably isn't going to effect much until below 40hz. They come with phono ends which I've already got jack adapters for so for £10 it's got to be worth a punt? You have about 12 hours to convince me that It's not worth a punt

... Forgot to say you will also want to buy yourself a stand with a sponge and a sucker thingy for sucking up excess solder.