JTUK

Keep the Bassman rig... There is a reason people still gig them...and I am pretty sure a lot more would use their ilk if only the weight wasn't an issue. The TH is a nice amp... and I aim to couple that with TKS cabs and that will be my weight saver. I'll still get the big ( heavy full beans ) rig out every now and again... as there is no way of getting that sound on the cheap, IMO.

The TF550-B has the same sort of EQ stage as classic SWR...so a couple of filters along with a 4 band semi parametric which means VERY powerful tone shaping. I never used the Parametric as the bass was good straight ...and the filters were very decent mappings anyway, IMO. I agree, you'll not track them down in shops.

I used the TF550-B with 2xAE112's and 2xDB210's and I got very loud with that on stages... a stage to me starts around 8m x 4m... We'd have bass monitors as well, but mostly the bass rig as described would handle that, IME. Admittedly, I traded up to a 750/4 amp but that wasn't for the volume. Talking to TF users, they say the 750 and 800 are very good amps as well, but I am not sure I'd pay the difference to upgrade from a 550. What I have found you get from a 550 amp and a 750 amp, is not volume whilst standing local.. but the louder amp fills the room deeper..and in many gigs, the 750 is TOO much. I sold the TF..when what I really to sell was the AE112's...but I have a very light class D now and I will run that with very light 2x112 ( not the Bergs ) so that fits my light/tiny rig idea. I still have the big rig 750 plus appropriate cabs as well. That was my thinking..all basses covered.

TH500 would be top of my list for class D..and it is the only one of that type, I've liked enough. If you want a very good amp at around 20lbs or so...go Thnderfunk.

Castors or the cab sits on it little rubber feet... can't see a whole load of difference as it is not now completely coupled anyway. I run cabs on one or the other. I don't find lack of bass an issue. I suspect many bass players think they need more bass when they could do with less especially if no FOH.

I was looking for an amp and Molan pointed me in the right direction.and the seller was Paul Turner. As it happened, I have a bass that he had built and took it along to see if he recognised it. He did, but spent the whole time playing my other one which I guess is why he sold the other one... Funnily enough, his old one is my fave bass sound-wise. Really nice guy and we spent a good couple of hours gassing away about all things bass. And of course, I brought the amp as well.

For practice into an 8ohm cab, I have the gain at 12, and the master at 9... if you assume the volume off is at 6 on a clock face. Live I will use 2 8ohms 12's and I am sure it will be loud enough. I play lightly so I don't get the most out of amps, compared to some so I expect to run at 12 plus 12 on the dials....which is the same as my old Thunderfunk which was rated at 550w.

I've liked the ones I've played, but they have all been jazzes. I think they lead the way at their pricepoint.

Stating the obvious here but did you select the right pad for active or passive? I am not a mad keen fan on Markbass cabs myself as I regard them as being a tad soft in conjunction with their amps so the match up with a TH..which I like .. wouldn't be my choice anyway. I've yet to use mine with NEO's...

I prefer 'I wish' played behind... which is how we do it

Like a lot of their stuff. Good fun

I run a DB750 into a 4ohm 212 for a 5...and it gets pretty loud on the dial. What I am actually pushing out, I am not sure and I play pretty lightly but I will be filling the room, for sure. For bigger gigs, I'll add a 8ohm 210 on top, so the amp is potentially upto nearer 950w for its 2ohms load. Obviously, the 8ohm cab will bring that figure down. I think people may have been seduced into what cabs will theoretically do and how they actually do it. IMO, a single 12 with a 5 is a pretty low level application and you could help yourself a lot soundwise by going to 2x112. The carry will be still be easy but you'll cover a LOT of gigs

I forgot about that.... I'll work on a ball park 10-1 ratio. just to get an idea. Thanks

Since you are here, maybe post a price list of your models, including covering options, PLUS shipping to the U.K. I know you publish in SEK on your site, I've been looking at your s112 cabs x2 with horns in a custom covering option. I could e-mail you directly on your site, of course, if you'd prefer.

I used a Line6 115 300w combo on a session and it did pretty well. I'd add those to your list and it would do a lot more on small gigs should it need to.

How much do you think a circa 1995 U.S NS-2 bass would be worth tod I have seen it and I don't think the person will be able to sell it for their own reasons just yet so I didn't take a lot of notice but this is what I recall. They have a serial number and believe the bass was a limited edition. The dated invoice of 1995 is around £2500 and the config is jazz bass pickups, neck thru, active. The story goes that it is a limted edition..?? and the colour is a rich purple all over. I have had a quick look at the Spector site and can't find anything like it, so suspect the colour was a custom order..or limited run. Guesses...?? I am pretty sure the person will not sell it anyway, so just for interest only. I am sure they have reasonable paperwork with it so that could be used to ID it more specifically if they needed to. TIA

No, can't say I am that familiar with specific PV models but this is my general feeling about PV P.A.. PV is a great workhorse but not that discerning so typically people will thrash them...because they will take it, whereas other stuff of the same ilk will have given up long ago. Pay special attention to horn clarity..which is ALWAYS an issue with the lower end of the P.A market anyway..but doubley so, when the cabs have some miles on them. I think PV suffer through continuing to work and be funactional well beyond the point when they should have been binned which is why you still so many about and they invaribly have had a hard life.. It might help if you have a decent amp to drive them...and not the PV type amps/mixers which just enhance the general boxy sound of them.. PV is often better than their pricepoint contempories but a hard life is a hard life. See what you think of the HF ...and listen to each cab indepedently to the other so one does not mask the other...

It was the Spider chassis............. for sure. 200w 4x15. Bit of a beast but the only cab I had at the time that could cope with a 100 Hiwatt...sort of. I bought it with 2 Blown speakers for £50 and replaced the speakers. No idea what happened to it... but I think I got a 301 cab and a 412 after seeing Thin Lizzy and then went for a PV combo with BW..which was boomproof but sounded awful..

[quote name='blablas' timestamp='1412008015' post='2564792'] Andy McCluskey of Orchestral Manoeuvres in the Dark plays right handed upside down! I always wondered why, it's not logical for a right handed player to do this. [/quote] so so weird...........

[quote name='VTypeV4' timestamp='1412008332' post='2564799'] Some pix might help.. I have a G15C which is the 'Spider' frame but is only 50w and a later Powercel which is the 250w model both I believe used by Marshall in the '70s.. [/quote] Crikey... I had an old Marshal 4x15 with cast chassis, iirc but they were only rated at 50w each. I woukld guess the cab dated back to the 70's

[quote name='wateroftyne' timestamp='1412008712' post='2564807'] I like ceramic drivers.... [/quote] Me too, I have 'decent' NEO's but I keep them as the lightweight option, but I find myself leaving them at home A LOT. Once I clear them out, I will probably go with a couple of S112's with a horn option.... Ceramics in a quality box sounds ideal to me.

[quote name='discreet' timestamp='1411995664' post='2564632'] Not for me, but I don't actively 'hate' 'em. [/quote] Never worked for me..but I am not current on them...I've always had gear that I liked better so never had to puruse them as an option so I guess my 'time' checking them out dates back to the very early 90's.

Must admit it is one of the few gigs in the town that I'd do... The WM is the other option if the rates are ok I know they need to work but some methods of getting that work didn't go down well with a few agents... which seems to be shooting yourself in the foot for the sake of a commission fee.... Seeing the gigs your other band got in the summer..there really isn't a contest and you don't need to be playing pubs when there are better gigs for the Tribute market. IMO.

Don't work a band with a specialist act in any old pub. You can't get the rate and so you become another pub band. That is ok if that is what you want to do but it doesn't help sell tickets for an act that could get better gigs. You know the market and the type of gigs on offer for that sort of tribute act... and the other guys are into taking anything that turns over a fee. Considering that Sting polarises people, you don't need divey pubs or audiences.. which matters not a jot to others in bands who just want to get paid. Which pub..?

Jimmy Haslip.... You wouldn't teach it, but these guys have a unique stylistic take on things so don't go trying to nick their top licks...