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About Williams4S

  • Birthday 06/02/1994

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    Merthyr Tydfil

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  1. After 4 gigs and 4 rehearsals, I’m very, very pleased with the Labella 760s. They are a very similar tension to my preferred 45-105 rounds but sound helluva lot better - fuller lower end, more punchy mids, less clank. Sounds great in a mix and I’m sold on flats on a jazz. Very happy. They also sound great slapped! The Tonerider pickups are well worth a mention as they are extraordinary for the money. They’re not quite as meaty as the medium set on the studio bass, but they are 85% of the beef and tone but much easier to play. They feel beautiful on your fingers as well. Great purchase and highly recommended.
  2. After reading everyone’s advice and seeing the love for the low tension Labellas... I’ve bought regular ones, albeit in the 43 gauge. 🤷🏼‍♂️ Potential wrong choice incoming!
  3. Cheers both for the recommendation. The other thing I’ve just thought of is to go regular Labella but bring the action down a little bit. The blue jazz had medium-high action which made for a great tone, but made you work for it. Are the low tension flats drastically less tension than the regular flats? I could just suck it up and grow some extra skin on the old sausages I suppose... 😉
  4. Last weekend, I went to a studio to do some recording. I had brought along my slap-happy jazz and StingRay. Both were strung with rounds, but I ended up doing the session on the studio owner's 64 Jazz reissue (Lake Placid Blue with matching headstock, for those who care ) and it blew my nuts off. The sound was incredible and I now want a jazz with flats. My only complaint was that the Blue Jazz with flats was a proper workout to play over the day - the action was fairly high to get 'that' sound in conjunction with the Labella Deep Talkin' flats and a nearly completely rolled off tone knob. I was wondering if it's possible to get most of that sound but at a slightly lower tension. I've ordered myself some Tonerider pickups for my 12 year old MiM Jazz and now I need some flats. Any recommendations? I liked the Labellas but they were pretty tight. I've had P's with flats and loved them, but I adored the sound when playing hard over the bridge pickup on the jazz bass. Deep, fat, mid-heavy with no horrible clank. Just pure groove!
  5. Did a deal with Stew in a dodgy service station... he was brilliant to deal with! Traded my CTM 100 for a high quality bitsa Jazz. Amazing comms, met at a time that was great, met halfway. If Carlsberg did basschatters! (Stew is actually much nicer than Carlsberg, FYI). 10/10 would meet in a similarly dodgy car park to trade again.
  6. I had the same scepticism before buying my RH450. I’d bought two RS112s and powered them with various heads that I bought and sold on. Had a good bit of success with an LM3, but when I bought the RH450, you can tell these amps and cabs have been designed to work together. Very loud, a slight bump in the low mids naturally (which can be dialled out if needed), and just a great sound. I’ve also owned a BH250 in the past and that was vastly underpowered and lacking in any clout unless going through the PA. The RH450 doesn’t suffer with this. Favourite parts are the ability to move to EQ centres and boost/cut frequencies that actually make a positive impact on sound, the preset buttons set up for ‘your sound’ which you can then tweak for the room, and the tuner is handy, as well as just sounding great. More amps need these points. RS cabs will always sound great, they are very underrated and undervalued as TC is no longer flavour of the month. So far, the negatives are few and far between; it’s heavier than more modern alternatives, parts are expensive to replace (or TC don’t stock a great deal of spares and ship them when they have enough demand, but this shouldn’t be a make or break situation!), and when I’ve used the RH450 through lesser quality cabs (I.e. rehearsal room offerings) the sound has seemed more bass-heavy and boomy. The RS cabs seem to negate this by being so clear and concise. In short, I preferred the RS cabs to the Barefaced Super Compact and Ampeg SVT 410 HE I’ve owned previously, and the head matches well with the cabs with plenty of volume, guts and definition. Go for it!
  7. I’ve owned a TecAmp Puma 900 and it was incredible for the 2 weeks it worked. Shame that it kept dying or going into protect mode. I ended up with my money back but a bit gutted that it didn’t work. If they weren’t £700+ brand new, definite contender. I think I’m looking closer to £500 as an absolute maximum.
  8. Reading back over this thread and I missed this at first glance - the Reidmar 750 seems particularly good value for money. Even more so, the Reidmar 502 is under £400! Any idea how ‘loud’ they are compared to their watt ratings? Before the can of worms starts bubbling, I’m fully aware that loudness and watts are not necessarily related. What I’m trying to decipher is: are the Reidmars capable of producing a similar amount of power as other amplifiers (such as my RH450) or are companies playing marketing games? Will a Reidmar 502/500 be as loud as my RH450, and is the 750 as loud as you expect it to be?
  9. CAB HAS SOLD - just CTM 100 left. Just!
  10. My apologies, this is what I meant - worded much more elegantly than my attempt. Every amp I’ve owned has had a DI with a pre/post switch. Seems strange that Quilter didn’t put one on theirs.
  11. I debated this this Post-EQ DI conundrum with a local sound guru who often finds himself behind the console for our gigs. He works for Midas and does some pretty extraordinary sound stuff day to day, and his advice to me was something along the lines of: “Send me the cleanest signal you can. What you think sounds good on stage sounds sh!te out here.” Followed this advice and it’s served me well. Ideally, I’d like to send the pre-EQ signal out and it not be affected by volume differences or anything. How come Quilter didn’t put a volume control (or to that effect) on their DI? Seems a bit strange as the rest of the amp seems monstrous.
  12. Wise gurus of Basschat! LukeFRC what’s the technical reason behind that? Or is it witchcraft?
  13. If love to, but I don’t think I could part with a grand for a head. I’d love to try one though!
  14. Cheers Loz, valuable insight yet again. I find the Markbass stuff generally too top end sheen-y when all is flat, but quite usable with the (stupidly high) treble frequencies rolled off to 9 o’clock. I’ve briefly used an Aggie TH350 and those sweepable mids really impressed me. I prefer that vintage slap sound (Larry Graham, Pleasure, Brothers Johnson, Chic) and the Aggie nailed it, albeit through a Markbass 1x15 cab at low volume. Going through 2 12s at full chat may be a different kettle of fish!
  15. I’m glad you said. I was curious about the DI as I’m not 100% about it having a ground lift either? Please correct me if I’m wrong! Lots of positive reviews on the whole though, but I’m largely reliant on the DI. The output being dependent on the volume doesn’t seem ideal. Like you said, a separate DI would be the way to go.
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