Dan Dare

As long as "making it your own" isn't code for "can't be bothered to get it right, so I'll wing it".

Of course.

The Super Compact is the most traditional sounding of the BF 12" cabs and should do the business with a suitable amp. It and your Markbass should be perfect for the old school sound you seem to crave. Which leaves the instrument. Something like a P bass would be far more likely to do the business, imho. It's also worth noting that no single 12" cab will give you the sound you get from a large PA. The laws of physics and all that.

Sounds as if someone felt threatened by your experience and knowledge. Shame it cost you a friend.

"Gourmet tone woods"? Oh dear. Interestingly, quite a few exotic woods are poisonous.

This. once you reach pension age, the mortgage is paid off and the kids are off your hands, you can just play what you enjoy and not worry about whether it will go anywhere or pay the bills. A job keeps some money rolling in and helps you stay in touch with the human race. It's a good place to be.

Good advice from Bill. I had that same cab many years ago and it improved a lot when I replaced the nasty, flimsy Fender drive unit, added some simple bracing and acoustic foam and lengthened the port (I used a shelf of ply to extend it).

My AG700 is simple - 4 band eq, input gain and master and that's about it - and powerful. It's been reliable over the years I've had it. It'll probably go pop now I've said that...

What keeps me in the game is the fact that I wouldn't know what to do with myself if playing music was no longer part of my life. I've been doing it for more than 50 years and it would leave a big hole if it ended. As is the case with many musicians, my social life is heavily tied up in it. A lot of friends are musicians. It's also a major part of who I am - my identity and how I perceive myself.

I agree with those who say bullet dodged. It does sound as if the others were not on the same page as you, so it would only have been a matter of time before a falling-out occurred. As you've nothing to lose, ask the singer if it's bugging you. If she's gone along with it, she's hardly in your corner and it isn't as if you'll be burning any bridges if the deed has already been done.

Agreed. I've said my piece anyway.

Ah, yes. The usual platitudes - I'm "disrespecting hard working citizens", etc, etc - trotted out by those who like the fact that they can buy things cheap and who wish to turn a blind eye to the reasons why it costs so little. I'm not "disrespecting hard working citizens". They have no choice but to work hard for little reward. I admire them for it. I'm criticising the system that forces them to do so. Next, you'll be telling me that they aren't used to Western pay rates and conditions of employment and therefore it wouldn't be good for them. I'll turn your question on its head. My PA and bass gear was made in Germany, the US and the UK, where I can be pretty certain that people are paid decently and don't have to work in a poor environment (relatively speaking, of course. Things can always be better). Have you ensured that the factories where your stuff was made are up to snuff, or are you happy to assume it was because it makes you feel better? The issue goes much wider than just musical equipment. It extends to every aspect of our lives - clothing, consumer goods, food, etc, etc. I know it's unfashionable, "bigoted" even, but I look at country of origin for everything I buy. If I can, I buy home produced goods. This is a matter of pragmatism, as well as principle. I live in the UK and therefore, I want the UK economy to be healthy, because that will benefit my quality of life and that of those I care about. it's in my interest to ensure that, if I can, I buy in a manner that does not see the money I spend lost for good to our economy. Thou doth protest too much. I made a sardonic comment and you took umbrage and attempted to accuse me of bigotry. I suggest your over-reaction betrays your sensitivity about your own conduct, rather than anything I say or do.

Why say you're sorry? Please stop clutching your pearls and open your eyes. Perhaps you are uncomfortable about the fact that we in the prosperous West enjoy cheap manufactured goods thanks to the fact that many people (who are often very young) in low wage economies work long hours for little pay, often in unregulated workplaces that boast few safety precautions or protection for workers. There's nothing bigoted (note single 't') about pointing that out. I put my money where my mouth is and try not to buy things that are made in such places. It may cost me more, but the consolation is that I'm not enabling exploitation or helping to fund the export of jobs to low wage economies. No doubt you'll tell me I'm fortunate to be able to afford my scruples.

This. Despite marketing claims, no manufacturer can offer more at a given price point than another, assuming they are all operating in the same economic environment. Obvs, things produced in high wage economies - Europe, the US, etc - will have incur higher labour costs than those made in the Far East by children working 12 hour days 7 days a week, but you get my drift.

Not unlikely. If he's been trading for 40 years, Brynn must be thinking of retirement. If he can sell the brand name and add something to his retirement pot, good luck to him.

I could have almost fitted into the narrow ends. They had 15" drivers, so the throats were very large. The fronts of the horns had about the same frontal area as a small car and they were mounted on large scaffolding stands that placed them about 10' in the air. Impressive. I just hope they didn't end up in a dumpster.

True. I've recounted this on here previously, but when I played the Hammersmith Odeon (now Apollo) many years ago, they still had the old horn speakers standing unused in the wings. They were massive. I could easily have crawled into the horn throats.

Absolutely. A speaker the size of your thumb or fingernail is not going to reproduce any low frequencies. I listened to that BF video on my DT770s via a wired internet connection (you lose a lot with wireless) and it sounded fine. Same here. For practical purposes, super deep bass from a stage rig is usually not desirable. It sets the stage and everything on it vibrating, goes down all the mic's as a result and turns the FoH to mud. Attempting to pump out single figure frequencies also wastes a lot of amplifier power. Super deep bass is impressive and pleasing in the showroom, the studio and your hi-fi, but not on stage.

Are they wood or plastic? If the former, a quick dismantle, a couple of cans of Tuffcab and you solve the aesthetic issue for a lot less money. It looks from the discussion above as if the cabs you are looking at will be a sidegrade, rather than an upgrade. Not the best use of funds, especially if your existing tops are still performing perfectly well. I'd give them a freshen up and continue saving for something that will really be an improvement. As Phil points out, it's splitting hairs to look for differences between the likes of QSC, RCF, FBT, Yamaha, etc. They are all roughly equivalent in terms of price and will offer similar performance.

Interesting. I'm the opposite. I use La Bellas on my P and Chromes on my Jazz.

I don't assume they use the same modules. I was having a dig about claimed output powers and mentioned them because they seem to be notable culprits. I appreciate that not all boards have integral power supplies. I've been toying with the idea of assembling (can't really call it building when all you do is put modules in a metal case and make a few connections) a power amp for my hi-fi using the Purifi Eigentakt modules people are singing the praises of, which don't have integral PSUs. Many appear to use Hypex PSUs with them.

Just to further complicate the issue, monitors at higher volume can have a definite effect on the FoH sound in smaller venues. It can be worth sorting out the onstage - backline and monitors - sound to everyone's satisfaction before making final adjustments to the FoH.

Markbass amps constantly surprise me with how good they sound. They seem to fill a space and project very well. I bought an Epifani 3x10 some years ago (and wish I'd kept it, but it was an awkward size to fit in my car and carry up the narrow stairs to my flat) and the seller demonstrated it to me with a MB head. It sounded great. I do lean towards an old school sound (don't like tweeters for bass), so slap beasts may not share my opinion. A pal uses the MB CMD 121 combo, with or without the matching add-on cab, and it's excellent. I keep thinking I should get a MB head, but I don't want to dive down the new gear rabbit hole yet again.

Thanks Phil. My main point (and yours, if I understood you correctly) was that people shouldn't worry too much about claimed power outputs. As we both stated earlier, many amp manufacturers add an off-the-shelf power module from one of relatively few companies to their own preamp design. Those power modules are pretty similar in performance at a given price point. They have to be to be competitive in the market. As a designer, agedhorse will be interested in reading data sheets, etc, but the great majority of amp buyers won't be. They just want something that will do the job for them. Most class D heads, save for those made by those who like to gild the lily a little (Behringer, TC, we're looking at you) do have similar claimed power outputs, which is unsurprising, given that they are using similar power modules. Tonal differences are largely due to preamp designers' preferences, who they are aiming their product at (Is it good for metal?), etc. When I bought my AG700, I spent several hours at Bass Direct and compared products from most of the usual suspects. I chose the AG because it was the closest to an all-rounder and worked well with the cabs I use (PJB). My choice may well not suit others, hence the need to audition/try gear and not buy on recommendation alone.