Downunderwonder

I may have missed it but have you tried a different bass and amp before condemning the cab?

If there's jamming involved I prefer the right side for a righty guitarist and left for lefty so I can see what the chording hand is doing. I can't actually read guitar chords I do it by osmosis.

I have a problem. Technically my Omni bass IS an electric cello, strung as a bass. Dammit.

Tempo problems can be very much more subtle than "player X is rushing causing everyone to speed up".

In anything that has a swing to it there only needs to be a slight disagreement over how much swing is the right amount. If the lead swings in ahead too much for the drummer's liking they may 'catch up' to correct the amount of perceived swing. The bass hears that as "everyone speeding up" and all of sudden the next swung note has done the same and you're off to the races.

Don't carry your 210 cabs. Put them on a hand cart.

I took to indicating the tempo with my foot and swaying so the drummer can pick up on it subliminally.

It seems to be working. He used to be all over the place but since I started my little routine he almost never gets it wrong.

EARPLUGS

EARPLUGS

EARPLUGS

EARPLUGS

EARPLUGS

EARPLUGS !!!!!!!!!!!!

STAT!!!!!!!!!!!!!!!!!!!!!!!!!

12 hours ago, Paddy515 said:

The two B-112s running together produce higher volume than your 8 ohm 212 as they are each 8 ohm cabs so stacked would run at 4 ohms utilising the full 500 watts.

Big call.

How do you know the 212 isn't loaded with some higher sensitivity drivers that lay waste to your 2 112's regardless of the wattage difference?

Yamaha used to make a blue cone thing with the LED at the peak iirc. A little bit retro vintage for good measure?

Don't point the mic at the speakers. Don't have the speakers too close and aim them across the room to opposite sides so you catch enough to get by. Small guitar amps mic'd into the PA.

No monitors makes life so easy. If you can't hear x or y, too bad!

Only works when everyone is on the same less is more page.

Powered sub ftw then.

Get some really good earplugs.

Get another 212 same as the other one. Stack them tall.

Assumes the first cab is 8 ohm. You seem to think it is but worth checking. If it is 4 ohm you are SOL.

In case of 4 ohms you could add a powered sub and line out of your fx loop to it and have it return the highpass back to your fx return.

Always hook up the speaker before powering up the amp.

Always power down before unhooking the cab.

Having this as your routine is to prevent an occurence of amp on with no speaker attached = death to amp.

I put verge of breakup because it's only a matter of digging in and and I get some choice wild hair on. But it's clean if I don't dig in. Such is the joy of preamps that can do that thing with ease these days.

Maybe I should have put clean as a clean thing? 

41 minutes ago, BigRedX said:

Pre-EQ, but get the PA engineer up on stage to hear what your bass sounds like to you through your amp and cab(s) so they know what sort of sound to be aiming for FoH.

Good luck.

Having heard so much boom and clank rubbish out front from other bands I just send them my effected signal. At least they are starting from something decent. I still get the odd grumbles it's bloated in the lows. It's the hall and the PA.

My cab is full range and the lows are turned down already. Tune your fine PA to the room!

Be sure the desk has phantom power off. Trace never isolated their DI afaik. 18v up it and no more DI. Then they tell you your DI doesn't work!

A few years ago my bro sent me.a YouTube from some dude who must be doing ok selling shows. Never heard of him and can't remember his name.

Dude doing country music with a jazz band backing him and making it work. Very listenable. Ace trumpet player etc doing jazz solos over cowboy blues.

On 03/04/2024 at 05:17, JoeEvans said:

It's also possible that the singer's mic is picking up the bass and sending it through the PA, then the body of the bass resonates with the PA output, that comes out of your amp and back into the singer's mic, and you have a feedback loop. You could ask the sound engineer to roll off the bass on the vocal mic - you could probably wipe off everything below 150hz without it doing much harm for a female vocalist.

Except it didn't stop with muting the strings. It could still be the singer's monitor and mic but it's vocal frequencies doing it because it stops when she stops. Must be a right Shirley.

HPF aka low cut her mic and see how it goes. Get away from the vocal monitor and any amount less of crankage will help.

.

On 06/04/2024 at 10:58, tobiewharton said:

Interesting thread...

Forums like BC are such a great source of many things, from bon homie to amusing belligerence, and I'm sure we're all partial to the full gamut from time to time. 

This particular one irks me -

These amps and cabs? Not on your nelly! I like Mesa stuff but these are priced out of the market for the majority of players. I earn good money from music and there isn't a world where I'd shell out for these products over, say, GK's offerings.

I couldn't give two hoots where things are made per se, as long as the product, buyer experience and aftercare are fit for purpose. On the contrary, if I feel like I'm being taken the piss out of it leaves a sour taste, regardless of some superiority delusion masquerading as 'provenance'.

Of course this is all my opinion, but it's not lost on me that I am in the relatively unusual position of having the funds and work to justify considering equipment that is towards the pricier end of retail. These are beyond that and yet are not a luxury; luxury is commissioning a build with a craftsman (like Jon Shuker for example, whose skill, time and flexibility add a unique and personal value), not preordering on Anderton's. 

I'm with you in that there's no way I am forking out for new Mesa gear. But I wouldn't go around calling it overpriced stuff I wouldn't buy and by the way I like some other brand better so Mesa can do one I wouldn't buy it anyway. That's not cricket, and completely unnecessary.

One Thousand Pounds, cough splutter, thankyous for the trade might suffice.

11 hours ago, stewblack said:

I just added up the 16 amps I have currently at my disposal and I wonder if I can honestly justify another. 

But I really want one of these, have done for a while and this is a very good price (even allowing for your commission)

 

Do it. 17 is the bakers' dozen of amps. Then you only have a dozen amps at your disposal.

21 hours ago, Pea Turgh said:

Still a 2x10 400w cab up for £99.  Bonkers.

I see why they made it 16 ohms. It's so someone can plug a 500w amp into it and not blow it up only turning the amp up "halfway" putting "250w" into it.

You're all over the place in your description of what you are trying to do. Really.

Start again with what gear you are currently using and what problem you have that needs a solution.

[ I very much doubt that what you have on your mind is going to be that solution. Maybe it can be, but not the way you seem to think it would go ]

Over to you.

If the desk has a spare Aux channel you can send anything you want to be sub boosted to that and the aux out goes to the sub.

It makes mixing a bit more complicated but should only be the kick and bass in most bands.