Musicman20

Oh heck. Glad it's not affecting them so far. Let's hope they don't do an SWR.

Maybe it's just for European Distribution?

Very expensive prices but a very hefty tone apparently (Uber cabs). I do find it weird that Genz, with amazing customer service, are going through Fender. Fender's after service care is pretty bad.

Awesome rig Higgy.

The DB212 is loud enough for me, I can only imagine its very similar if not the same as the two DB112s. I can see the DBs being a classic setup for a long time. They seem to have really caught on, despite the fact they are fairly heavy. Most amps seems to take well to mine...I havent used the Orange that much through it due to the fact the amp is hard to move about, but the LM3 sounds great!

SWR 6x10?! YES

The thing is, most decent 2x12s (the neo kind) are around 52-55lbs+. With the Berg, you lose the 'casters' option so its a dead lift. The Neo X 212T is 52lbs, and has the tilt back wheels, which does help. The DB212 is 70lbs. Its no lightweight cabinet, but I imagine the sound it produces is associated with the box size and the wood its made from. The difference of 52lbs-70lbs might seem like a lot, but its not a huge huge amount, especially when you factor in casters, handle placement, etc. Some neo cabinets, like the Genz Uber 212, (which I have heard excellent reports about) are almost the same weight (63lbs), but they have a larger box than the other neo cabs, and more ommph I guess. Its a game of give and take.

Nice red tolex! I like these rigs...

Id think about possibly keeping it, and using the DB112 (if you still have it) for smaller gigs. I sold my DB212s (8 ohm) and missed it straight away so went for another DB212 (4ohm). If I had more space and needed it, id audition the Genz Neo X 212T before anything else as a lightweight option. Fair price, well respected, covers are cheap, and great customer service.

Im pretty lucky. I moved home after a poor attempt with bands in Newcastle (love the place, but found all but one band were time wasters....although next time I move back up Ill have a different approach) and to wait for my legal contract to start. The band wanted me back, and if im honest, the current bassist moving to guitar is a much better place for him. I know all the lines (almost) and they know I record well and put in a lot of effort. Happy days....hopefully! I now have a year and a half of touring, work temp jobs, and basically trying to go on as many trips abroad as I can before my real career starts. AD200b is 4 ohms minimum, so I need two haha.

[quote name='xgsjx' post='1130575' date='Feb 17 2011, 08:24 AM']What about a 2nd AD200b & 4 SP212s? Stack 2 each side & have a stereo signal going to them.[/quote] Oh my....what a thought!

How hard are these to fit? Id quite like one for a Jazz bass.

My thoughts exactly haha! Big cab big stage. Not sure we can muster the strength or space to lift it every night though

Adjust the EQ...dont cut the mids too much! Ive never had this issue....but I think thats the answer. The EBMM pickups and preamp are expensive anyway, id never swap them out! Another idea. For more thump, whack some flats on it.

I do have to point out how MB tried to cram EVERYTHING into the F500, and the controls are very strange to use. It didnt have the feel of the LM3 at all to my hands. It felt a little bit delicate. The Gain on the RH450 is accessed normally, then if you press shift, the compressor can be tweaked. I do know that compression can be important, but I must admit, the RH450 compressor works very very well indeed. Its not hugely complex, but they know how work these things from their past efforts in effects and studio gear. The LM3 is simple to use, but the RH450 is far superior to most other amps that try to add extra features. Why? Because for once, they all actually work damn well, and arent just there for fun. Ive never had a semi-parametric EQ, and it works very well and fluid on this amp. Again, I like MB and TC, so Im not fussed.

I have changed a lot of gear the past year or two. I have finally got the amps that really work for me, and Im not gambling on anymore for a long time. Basses? Almost there. Fender J, then Im done for a few years.

Buy ALL cables from OBBM, seriously good and no high prices

Thanks for the input. Im still undecided

[quote name='Bilbo' post='1129320' date='Feb 16 2011, 10:19 AM']I think there is an argument that some players (not all by any means) are trying to 'buy' talent and, rather than working on legitimate, tried and tested methods of musical learning, try and adress their shortcomings by buying gear. I heard even Guy Pratt talking about a bass with a 'fast neck'. I don't care how fast the neck is, if a player has no musical knolwedge and lacks core competences like time etc, a 'fast neck' ain't going to solve the problem. I make no secret of the fact that most of the talk on here about gear is irrelevant nonsense - there is a thread on here about the best material to make a nut out of (walnut, obviously). What possible difference can that make to anything? I get that you get more sustain from this or that material but how many times a night do you hit a note that sustains long enough for that to matter? In fact, you are as likely to NOT want it to sustain. I think its all smoke and mirrors. I can't tell the difference in sound between a Jazz and a Precision or a Ken Smith or a Fodera. I [i]can[/i] tell the difference between a Dorian minor and a Phrygian minor. [i]That[/i] matters. But an ebony vs plastic nut? As important as the colour of your lead, methinks.[/quote] Great post. I need to play more.

I think Carvin need more marketing here in the UK. I barely hear a thing about them.

I used the same setup for years. I still think you cant beat an lead sled solid state or full tube amp for sheer power. Something seems different to me with the smaller amps, but the RH450 definitely gets super close. Now Ive started it, Ive got a little bit addicted to trying new amps/cabs. I have however, hit a very nice collection, and thats it for now. Im spending on the basses I have coming in and thats it for a good year or so. Part of it is 'check out this new amp, its better than your old one', then you get it, and it isnt. But some of them are stunning....it just takes time to find the one(s) that work for you.

[quote name='Raggy' post='1129280' date='Feb 16 2011, 09:45 AM']Mrs Raggy got me one of these for xmas. [attachment=72342:101204.jpg] I likes it [/quote] Mine is very similar, and its comfy to! My missus got me it last March as a birthday present. Now she wants a few for the house!

I think they have a new line due out, and we will all love them again! I nearly sold my LM3 this week, but due to financial issues, I am not 'upgrading it', and to be honest, its the one amp I use if I need a totally clean and sleek sound with crisp high end. Nice kit, and I like the fact its all made in Italy and not out sourced. The website is currently down...for an update.

[quote name='cocco' post='1129218' date='Feb 16 2011, 08:29 AM']I'd miss the space you get with the single pickup I think. And what's the point in more tones when the one you want is the basic one that every ray does?[/quote] Ive not played the HH, but I have a HS, and believe me the extra tones are very nice. The classic Ray tone is there, and 4 other great ones! Weirdly enough my favourite is one I never expected, and the different single coil tones are like a Jazz or a P bass (single coil Jazz bridge or single coil P) with more sonic punch. You dont lose a lot of room with the HS, and IMO its a good 'inbetween' setup. Cool H sounds like a normal Ray, and more.