Dan Dare

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.

Not sure I understand what you've written. It seems there may be some missing words. If you compare the spec's of many of the class D amp heads from the usual suspects, they do produce approximately the outputs I mention. There may be small variations, but for real-world, practical applications, the generalisation will suffice. Not all of us wish or need to delve that deeply into specifications, etc. We just want to know what will work for us.

I'd be surprised if it was any single pedal or effect. It sounds to me as if there's some flange, a touch of wah/envelope filter plus quite a lot of compression. Easy enough to dial up in a studio environment, but you'll need to experiment to get the same effect live.

Agreed. I felt there was some macho posturing going on in the post I responded to. As I wrote originally, when you have to have a couple of hundred songs on tap, which is pretty standard for a function band, you can't perform them all at the drop of a hat (barring those that get a regular outing), without some form of aide memoire. Many of us play in several bands and/or do deps, too, which compounds the issue. It's easier for those who have their one band, with a fixed set list of two dozen numbers, that plays or rehearses every week.

Yes, you run an extension cab via the spare speaker jack. As others advise, try before you buy. MB combos are usually pretty portable, so it won't be too much of an issue to take it with you when auditioning stuff. I wouldn't discount a 1x15 without trying it. Edited to add. The extension cab doesn't have to be Markbass, unless visuals really bother you. Shameless plug coming up. I have a Bergantino 1x12, 8ohm, going spare, which would do the job. PM me if it might be of interest.

Which MB cab do you have? They're pretty light and compact generally, barring the larger ones - 4x10s and up. If yours is a 1x12, 1x15 or even a 2x10, I wouldn't bother. I'd save the money to put towards something else.

Tell that to the members of the LSO... Seriously, if you're playing a couple of dozen three and four chord numbers with no tricky melodic structures or rhythms (which is what you refer to playing), you can wing it once you have the basic form down. Other things can be just a bit more complex.

Nope. If all you play is simplistic stuff - three chord pop songs, etc - and have a fixed set of a couple of dozen of them that never varies, then a safety net is not necessary. My function band has getting on for a couple of hundred numbers we can play if required. Some only see the light of day once or twice a year. Some hardly ever. It isn't possible to keep them all in a state of readiness, so we have charts. Most of the time, they aren't used, but if someone requests something we haven't played for a year or more, an aide memoire is needed. The same applies to classical players and jazzers, as pointed out already.

It's a treble clef. Should be

This. My Black Widows had alu' domes and they didn't lack crispness or dispersion.

Do try not to quote people out of context. I actually wrote "If you like the sound of 15s (and don't mind carrying them), the technical arguments are irrelevant, even if they are true." In other words, if you're happy with something and it does the job for you, use it and never mind what the "experts" think or say. And of course, a tweeter will help get the higher frequencies out there if that's what you crave. I hardly think a couple of 15s and a beefy amp will have you "playing very quietly through your stage rig". You're more likely to be asked to turn it down. As for dispersion, to which you refer in another post, dispersion from a good quality 15 is not that much worse than that from a 12, especially at low frequencies, which are less directional anyway. Were that not the case, a single 15 or even 18 loaded sub' would not work as well as it does to fill a room. With a vocal only PA, you can take a feed from the bass rig and cut the lows from it on the mixer, so only the mids and highs pass through the PA cabs. That will give you some articulation out in the room (with the low end coming from the stage rig) without turning what comes out of the PA to mud. I often do exactly that and it works fine.

Tbf, nobody is really "defining the sound of a cab" by number and size of drivers. Most of us are saying we've enjoyed (or still enjoy) the sound of 15s. That's certainly the case for me. Were I still able to carry and store a large 2x15, I would probably have another. Different strokes for different folks.

Just spotted the following Ai description on an eBay listing: "Crafted for the bass enthusiast, this 4 string electric bass guitar from Rip offers a versatile foundation for musicians looking to explore the depths of electric bass. Its sleek design and robust construction are geared towards providing a comfortable playing experience and reliable performance. The guitar features a string configuration that is evenly spaced to ensure a balanced sound, perfect for both practise and live settings. With its unbranded mystique, this bass guitar allows you to take centre stage without overpowering your audience, making it an ideal choice for players seeking to make a statement." I know these descriptions are AI generated, but some numpty had to programme it to come up with this tripe to begin with. Beam me up, Scotty.

This. Most class D amp heads use power modules from Hypex, IcePower, Pascal and similar. The modules are readily available, proven, reliable designs and it simply isn't worth amp makers designing their own/reinventing the wheel. Most modules are at or around two power ratings - either 300w into 8 ohms/500w into 4 ohms or 500w into 8 ohms/700w into 4 ohms. Some amp brands inflate their power claims. I have a Carvin that claims 1000w, but it's no louder than my 700w Aguilar if you turn both up to the point that the clip light flashes. I wouldn't be surprised if the Peavey mentioned is the same. Watts are cheap nowadays. All amps have a volume control, so unless funds are really tight, buy the more powerful version, be sensible with the volume control and don't over-drive your speakers (you'll know when you do because they will make horrible noises). Your sound will benefit from the additional headroom and when/if the time comes to up the size of your rig, the amp will still be up to the job, saving you from having to sell and upgrade it (which always costs).

I avoid anything - instruments, strings, etc - with an artist's name on it. You're bound to be charged a premium. Same applies to virtually anything, really - clothing, fridge-freezers, cuddly toys. If it bears an endorsee's name, you're going to pay more.

This is what it boils down to. If you like the sound of 15s (and don't mind carrying them), the technical arguments are irrelevant, even if they are true. If you are happy with the sound you make, you will be more relaxed and confident and play better.

"A piece of rock history"? Oh dear