JTUK

My DB750 has their road case, and I'd be shocked if it was anywhere near 43lbs... but if you said it was closer to 60lbs, then I wouldn't be

The 1126 is big enough and if you had anymore you'd swamp the good tone of the cab. This is a common error by people who go for a LOT of bass... in that it gets in the way of what you should want the bass to sound like. The 1126 will be more than enough for all bar Dub players, IMO. and if you had two, ...well... wow. But you also have a very nice 6" to give it nice definition, coulour and seperation. I ruled the 1126 out only because I have that covered, IMO. The S112 will go low but its real quality is the mid range which speaks so well. I can't recall hearing another cab that does it quite like that....and I really liked it and thought it would do really well in a band context. It is very clean, the way I ran it, but also, Martin Policesquad got the cabs to really bite and snarl. This is its strong feature but in no way is it bass light. It is just less bassier than the 1126, IMO. I put +15bd into them ( 2xS112's ) and it almost brought the ceiling down or rattled the plaster and dust off them..and the other cabs ( 1126, CN112, SL112 ) didn't do that. I didn't put +15bd into them tho... but the point being the S112's could handle it if you wanted to. It wouldn't be how I would pay them though..at all. The S112 is a very toneful cab, IMO and you'd not want to buy them and obliterate that with too much bass but they can get full and remain punchy and true. I had the TH500 on 12 on all dials and I wouldn't be too far off gigging it with the S112's like that. I guess it depends on our defintion of filling the room.... these will fill the room and underpin the band, I am certain... but they aren't as low endey at say, the GS112's x 2..( what is ? ) but then the GS112 doesn't have anything like the character of the S112's...or even the DB112, CN112 or SL112, come to that. All IMO, of course.

It doesn't so much matter what the tone is like... that is fixable..it is about how clean your playing is...as that isn't. Solo's is ALL about how good or bad your playing goes down..and will be highlighted. A good engr will get past that but it will take a a lot more time than it should and that is money.

One of the best lessons I learned was first time in the studio and the engr solo'd me... I was never going to sound like that again....

[quote name='TimR' timestamp='1416395532' post='2609674'] The pubcos own the pubs. So unless the landlord can afford to buy the pub (very unlikely), the pub will be sold off for flats or housing. [/quote] It needs to be timed right as lots of pubs are up for sale... and they can be cheaper like for like than housing, but they aren't sold for housing under the 'change of use' rule..??

I was going to suggest that independents could be the way to go... ?? Maybe this could be a shake up in that the owners need to look after good tenants as opposed to put up rents the better a publican builds their business. Music pubs round here put the beer up for music nights..which I haven't got a problem with, but the cost of a pint IS noticeable these days. I think music nights pints average about £3.60 a pint of bitter. But...so many pubs do music, it can't be that bad a thing or expense.. Food pubs..in a traditional sense, and not so much a 'dinger'...( which is a micro-waved menu pub ) do pretty well around here but maybe the 'local' is dead on its knees..?

Hmm sounds good on paper but I think it will make things worse, potentially. Unless the 'tenant' can break the tie of the pub with the owner, what the owner loses on the barrel, he will go for on rent.. and pub rents are what is killing the trade anyway, .

I can't recall the last time I had a problem with any sort of boom..... I used to have a semi parametric on an amp which would have been great perfect for notching out any boom, but I haven't used it in years. I far prefer shelving controls now, but once you find the sound that just amplifies the bass that have set up properly, you are talking about setting levels and that is about it. I think boom is a problem of the cabs, mostly...

Can't help as the only time we come across digital is when we hire in and then the desks tend to be LS9's or Presonus. They seem pretty good for multi bills as the stage engrs can Eq via phone/ipad..which is cool. So, apart from the fact that you can store a preset mix,which good and quick if the same band/set-up runs it, I don't know too much about them.

Since we tend to stay within 30 mins driver distance, I'll likely know of the place or will know plenty of people who have played there or know it. Basically I'll want to know it is big enough and that we don't squeeze in.. the playing area isn't too shut away so the viewing area is good and the clientele is ok. That is before we talk about money. Funnily enough, the best pub for all that is one we've resisted for a while but they have built up a reputation as a music pub ( They don't do food )- they have a house P.A which is ok and they have a stage in a hall like room. They also put on quite a bill when the town has a BIG hop festival, so we asked some of our regulars from that that town as we were looking for a second gig if it was worth doing and they said it was, ie, they go there. We only do two pubs per town and so they tend to be the better ones, but one of them refurbed to a bistro so live music was out. We had a space for a venue so it worked out. Apart from pub specials which tend to be summer marquee type gigs, we only have regular 4 pubs on our books, iirc.

[quote name='peteb' timestamp='1416335780' post='2609181'] Good job that the boys playing in Chicago in the 40s & 50s didn't take that approach or we wouldn't have any decent music to play in pubs many decades later...! Actually, I've had some cracking nights playing in places that you wouldn't normally go into without an armed escort...! [/quote] I can leave it, myself. I am not saying it isn't possible to have a good gig in a rough type bar, but it is not impossible for a fight either. I don't go to those type of places so not interested in playing there. We give whole towns a miss for that reason as well....as in, no places that we fancy playing.

[quote name='redstriper' timestamp='1416171252' post='2607635'] No good for reggae then [/quote] If you mean oddles of bass in a dub sound ..?? Not the S112's, IMO, no.. I'd use them in a bass slammin' type of thing, but then I doubt that would get me a reggae gig...

[quote name='mcnach' timestamp='1416334381' post='2609165'] You really like the S112s eh? I like their price [/quote] I do.... I had my East bass boost whacked right up at one point...just to see... and that was BIG; too big for me as I don't think bass needs +15bd, tbh. I keep going back to that clear mid of the S112... and because the cab is a single speaker tuned higher, IMO, you don't get the 'gap' between a tuned lower chassis coupled with a tweeter for the higher end that is so typical. I totally get why people could contemplate not having a horn... which is not something I would ever agree to with other 12" boxes I've used. So, I'll probably go with at least 1 horn, just for comforts sake.

True... we had a a proggy guy try it ( Get Lucky ) and it never worked even though the leys, bass and drums were there. Got another guy in and it sounds great. You wouldn't think a gtr part could be the difference, well you would, but at one time I hated it and now I really enjoy playing it. Note to self....... pick your players OR songs very carefully as empathy is key. Notes are notes but you can't kid a groove.

I'm going to take a shot and suggest a pr of S112's... They don't lack low end, but the aren't HUGE... and if you want to hear a jazz, typically, you'll need cabs which speak well higher. The S112's do this probably better than Bergs and SL's, IMO, and maybe trade a little low end to be able to do that. This is not a loss as far as I am concerned, Try and find WOT's video of his jazz through an S112 and that is how they sound LOUD. I believe the cabs sensitivity makes them ball park louder than the 1126 with the same amp and level, if I understood TKS's explaination, but the 1126 can be pushed harder with a louder amp.

Didn't try the H115 cab but the 1126 is a great cab in its own right. Fuller and deeper that the S112 and very good seperation between the low and highs, which I thought I would really go for. But, the clarity of the S112 was such that we unplugged the 1126 soon enough. The 1126 occupies ground I've covered elsewhere from a sound POV but if I hadn't, 2x1126 would be very attractive. I will very likely go for 2xS112 with horns ( but I accept most might not need them ) once I've sold my Berg's. If you only need one S112 with a horn and one without, the start-off prices ( without custom clothes/coverings ) are very very appealing.

Our last CD cost £1200... it will be a long time before we see anything off that, I'm sure. And that is not costing ourselves as the session players

I think the hardest thing about covers is making it feel right. If everyone has their version of playing by numbers a lot of bands think that because they have 'their' parts right the song is going to work and don't or can't recognise when it doesn't. The current song atm that I hear 'butchered' most times is 'Get Lucky'..

Yep, pick you pubs and if the g/f/wife wont go, take the hint that other women might not like it either... That is why you have to vet the pubs and if we wouldn't drink there and neither would our 'fans' we don't play it.

[quote name='Dad3353' timestamp='1416264940' post='2608589'] ............................... All this to say that we have, each of us, our own references as to what constitutes a good sound, especially in the diverse situations of live bands in differing venues. What is 'clear' to one is 'toppy' to another, and so on. Experience, preferably wide experience, is the answer, and humility. A big dose of humility. Don't trust your own ears, alone, unless you've both of these qualities. Sorry for the length and verbosity; hope it was worth it. [/quote] Agreed, ..what we have found though the difference in recordings 'quality' is not even close... One of our show piece gigs with hired-in P.A is unlistenable to me... whereas I quite enjoy most of our self mix efforts. The device I use is a Zoom Q2 and it works fine.... For engr'd efforts I place the dev as near as possible to the desk but you can't specify a certain engr as around here the P.A's companies hire the kit first and then sub the gig out to freelance engrs. It has gotten so critical that we now find the engr ourselves and get them to book the P.A... but sometimes this might mean the engr getting a gig that the P.A company had last year and the P.A company assumes the engr has undercut the gig so this becomes 'difficult'..but finding a good engr has become the issue. Not many of them can supply upward of Nexo type spec so they dry hire from the few companies that have that sort of kit. It needs to be local-ish so you don't get silly mileage charges and therefore becomes a small world...

[quote name='owen' timestamp='1416267118' post='2608604'] I did a gig last week with a pair of QSC KW112 and KW118 (or whatever the 18" subs are called). They were bonkersly loud and held it together all the way. I was hugely impressed. The SRM450 are not in the same class (but not in the the same price bracket). They can get harsh when pushed but a bit of taming at 8Khz always made them a bit easier on the ear. They run out of headroom before you think they should, especially if you get tempted to chuck any LF into them. The reality is that they are old tech by now and I feel absolutely sure that anything more recent with some DSP in there would be significantly better. [/quote] I think newer DSP's have got close to the QSC's..and some prefer the new tech, our singer included, but QSC remain the reference for me. You are trading off something if you go Yam, EV etc... but I don't think there is much in the K12's and others, in our experience, If you are using tops only and want the extra bass capability LOUD, then the KW12's are probably the way to go. The real difference of these things from our POV is how well they go loud....but again we spec'd a pr of DXR12's with a DSR12 sub as the default min rig and we think those 3 boxes out perform a pr of KW12's on their own. The money is about the same for the 2 rigs. As always, what can you spend, what can you carry and rig..??

£10 ph door to door is reasonable ...or just about acceptable from our POV for pub work. For that the pubs needs to have enough room for bands, have a good rosta and be set up with a regular music night goer. If we can add 20-30 to their same numbers then the date will work mostly. I understand why pubs and LL's aren't going to be too pleased with 10 people through the door as that is just not a sustainable gig, so both LL and band have to take some repsonsibility there and whilst the LL will not be keen to repeat that experiment, bands may well think they have completed their part of the bargain and want rebooking...but these days, pub work doesn't work like that and live music might not even be something the LL is mad keen on but it might be a way to sell more alcohol. At the end of the day, that is the sole reason we are there.

If you concentrated on the hi-hat and snare it would drive you ( me ) mad... I'd turn it right down in the cans if I had to play to it.

[quote name='0175westwood29' timestamp='1416226996' post='2608044'] but this can be checked in a 2min sound check, for me there is something about a 810 that just works. andy [/quote] Not unless you have someone at the back of the room.

[quote name='xgsjx' timestamp='1416236132' post='2608148'] Other than good dispersion. [/quote] Not really a factor for bass, IMO.