JTUK

Playing with plugs tends to compact any wax even further ... so a dab of Otex works wonders to melt/loosen it. I've heard of ear candles and these syringe things but Otex softens and helps a blocked ear...other than that you need drops to soften the wax over a few days and a nurse with a water jet to flush it out. Olive oil only stops the wax from sticking and building up ..it doesn't do any good getting it out once it has formed and gotten compacted, IMO

[quote name='discreet' timestamp='1399664519' post='2446540'] What banter? I'm not a cheerleader in a club. I bought a Barefaced cab and thought other people may like to hear my views on it, for what they're worth. I don't understand why there is so much negativity about Barefaced. If you're down on them - which you obviously are, for a reason that is still beyond my comprehension - then why do you continue to post in a Barefaced cabs thread? Have you actually tried a Barefaced cab? [/quote] It is just a question of balance. If you were pretty new to the site and you read a few threads you might get the impression that they were the only cab to have. It is just that there are as many people here who really don't know why there is any fuss at all about them, but they aren't the most vocal.

[quote name='discreet' timestamp='1399642280' post='2446216'] ...And vice-versa. I'm not an offended owner - I just don't get why this always happens with Barefaced products. When someone posts a NCD or other thread about Bergantino or Aguilar cabs you don't get this, do you? Why not? [/quote] Nowhere near as many of them... IMO. I think I counted the first 4 threads about them the other day. Maybe it is all banter as the people who buy them can't help posting and getting other owners along as cheerleaders in the club. Maybe it is this place as most bass players I know will not have heard of them.. so no, I wouldn't call them a 'player' in the industry. And yes, you are right, I don't tend to read about the NCD threads if they are featured as they are all pretty samey in the content. My points in this thread have mainly been about the tech elements of impedence and config.

yep... and the amps and cabs section updates can be dominated with their NCD etc threads and posts. So, just what we need... another thread about them. I am down to 4 forums I regularly check through.... I rather it not be 3..

Wouldn't mind a punchy lightweight 12 or 15 sub...

[quote name='Bassman Steve' timestamp='1399629990' post='2445982'] I'd probably respond better if I knew what you were trying to say. What is a Precision sounding cab? An 8x10? A Portaflex? A 4x12? The market is full of all of those types (though fewer 15's which seems to fly in the face of what you're implying - I think). Solo bass? It's how it sounds in the mix, not on its own surely - unless you're Stanley Clarke maybe. [/quote] I am saying quite a few bass players don't have a sound that is kind on its own... and that can be down to what they hear and produce or what their technique produces. Plenty of guys round here use Ampeg... and they get that 'great' clunky sound which is all they are ever going to get with their all round set-up and the way they play. This is what I see and hear time and time again. Prorbaly a bit of a pet theme as well, as there doesn't seem to be a lot of variation or thought in it... but they seem happy, on the whole. Not what I would call a great sound or in any way cultured, but hey... When I say solo'd, it is more applicable to just playing with the drums where the bass sound is exposed..or even an intro. Many songs can be stripped down so the bass sound will be heard quite specifically.... Slow songs, ...anywhere where the gtr and other instruments aren't able to mask the bass. A 'precision cab would be an honest cab where there isn't a lot of colouring.... It is about a pure bass sound ...

If your amp wont run all day at 4 ohms..I'd suggest the amp is a pile of .... tbh. Depends on the thinking behind this.... I think it is more about lightweight per cab, but then that is nowhere near a one solution cab anymore. FWIW...if it were me and I wanted 6x10 or 8x10, I'd have one....( and the advantages are stack height to ears ) but the company I'd buy from doesn't do a 610... and I can't go to 810 for the amount of gigs it would do at the cost. I can do it from a modular POV with 212 plus 210 ...but stacking 212 plus 210 plus 210 really means 1x 210 is stacked to the drummer and the gigs that I could do that on have decent monitors and fills anyway. Basically, I need to sell a 210 as nice idea but not joined up thinking.

[quote name='Bassman Steve' timestamp='1399620845' post='2445861'] I'm horribly old school and use 15's but have a 2x18 which gets occasional use too. I hear all the arguments for 10's and 12's but have always found them too 'responsive' for my crude technique, they seem to be far less forgiving than some lumbering great 15" cone. I have had the same sound for about 35 years now and still love it so I have desire to change at all. I dare say a lightweight 1x10 could sound great but I don't actually care. Precision bass, valve amp and 2x15 - I'm a cave man so bite me! [/quote] And I would guess that is why quite a few 'precision' sounding cabs come back onto the market pretty quickly. It is all very well being able to hear everything, supposedly, but do you WANT to hear it You can go two ways with it...you can use it as a tool to be cleaner, which is no overnight thing at all if you see the attack some people get into the bass ( their technique would required a brutal major overhaul IMO ) or you can give the job to the engr to clean up and bury in the mix. Doesn't get round the solo'd bass sound though.

A high impedence (16 ) 2x10 doesn't make sense as a standalone cab as you'll drain the amp to power it. I could see the point froma modular POV if you wanted to run a powerful 212 (600w ) at 8 topped by a 210 (400w) at 16 as that would balance the output a bit better to the 2 cabs... but this needs a robust output stage to cope, I'd say. I've used 212 @ 8 and 2x 210 @ 8 each but you need an amp to run down to 2ohms.

Depends on the size of the pub but I like the sound of the tops.... in terms of spec. All the Dynacord kit I've come across has been a step on from the usual fare so expect good bang for buck, within the confines of new tech and weight. I'd take the whole lot out and run just a gtr bleed plus kick and o/h only for the first outing. You need a long set-up time for new kit and you don't want to overcomplicate things by having too much to do 1st time round. Maybe feed the bass in, but not much and be prepared to take it back out again as new kit plus self engineering ( I assume ) are not the very best of bed fellows. New mixer...? run a recorded track that you know the sound of, to get a general balance between tops and bottoms... as you are basically equalising the sound bias between the two. Don't expect too much 1st time round but a good balance and mix is the bonus.. and that is before you take into account what mics you run. Assume SM58's will bleed into the P.A all sorts of stuff..... which can be a good thing or bad depending what you expect/want them to do and whether you use them, of course. I don't like them as the main lead vox, tbh... but around the drum kit they can do ok as a pick-up ambient type. 1st time round I'd be thinking anything more than a sound embellishment is a bonus, apart from the vox, of course and I'd be expecting you will be able to get them pretty high in the mix ..which is what you should always do anyway...

Yeah, I will... same as I will have to tell our gtr Delicate flowers that they both are

I understand prompts and triggers but music stands on stage looks terrible and just amateur so we try and hide them. Imagine a gtr pulling all sorts of poses with a stand nearby... but sometimes the show can just about handle it. No excuse for pubs tho.. IMO.

[quote name='shizznit' timestamp='1399481464' post='2444673'] I have used nothing but 10's for many years, but I picked up a 212 to add to my backline a couple of years ago and I have used it many times as a stand alone cab and sounds very good for most styles I can throw at it. Plus, I'm never short of volume. Everyone is a winner.............................. .............for the bigger gigs I pop either a 210 or 410 on top. I find that setup gives better balance than a 15 underneath. .........[/quote] My 212 with a 210 on top is just the best sound ever for me.... it is lively, punchy and will cut through anything .. The tweeters are up to around three qtrs on both cabs but I have to do very little with the amp. The sound is what I would call a vintage modern Fender ( think modern Paul Turner ) and has all the snap and pop you need without being anyway near cliched. In order to run the amp down to 2 and balance the loads across the cabs, ( as the 212 does 600 @ 8 and the 210 does 350 @ 8 ) I'd add another 210 but I haven't needed it on bigger stages. And even in high ceiling hard-walled rooms, it is never boomy on modern stage flooring... unlike quite a few other rigs I could recall.

10's and 12's and the most glorious sound I've had for ages was from a a big amp running into a 212 and 210.... But.... sometimes you have to wonder what bass players themselves hear and actually want and they often think a bass sound stops at an Ampeg rig. This is not a dig at Ampeg so much but the outdated view the players have of a good bass sound. I call it the pub 'thunk' sound Anyway... I don't see the point of 15's..never really have, tbh and don't own one.

Well, the other thing was...and without blowing my own trumpet, I could have done what they needed pretty easily and made a much better job of it that they ended up with...IMHO, of course, but I wasn't going to get up there using a 4 which I don't play and don't know and probably wouldn't care for either, so all in all, if I was going to do them a favour... then I'd have driven home to get my bass. He/they wanted me/anyone to get up there and play anything that was donated/left around and there were plenty of guys who were 'up' for doing it... but by the look of their faces, they didn't seem at all comfortable in those situations once it all started ..and by the look of the gtr face, he wasn't that sure about it in the end either. So, it didn't happen... but he has since posted on a FB page that he doesn't see the need for basses to be anymore than 4 string...which is an argument you can have for ever, but then when you see the set up of the band you might unkindly think it is only a vehicle for him to jizz all over anyway. They are pretty popular, tbf... so maybe he is on the right lines. But, I agree, if anyone determines what I have to play, I'd be looking at what it was actually worth in terms of salary and when I heard what a very popular chart name was paying her band of late ... I nearly choked, and apparently that is the game these days... I put a decent amount of credence in the source as that is the type of work they are all after Lets just say that a decent function gig would cover it.... And in light of that, I fully understand how decent CV's come down and are chasing function gigs so hard... Sorry to Zig for the derail..maybe it is time for another thread...

I played a Glock rig... Soul head with Quattro 410 and Uno 115 and it was a nice solid rig with a clean sound. A bit like a throwback to Boogie cabs which were good, but not truly outstanding. Heavy cabs altho I didn't have to move them far. I recall thinking this was a more than nice rig but it didn't make me think I had to have one. But, it is kit that you should look into a bit more as I think the inherrent quality is there, Whether it is going to be your thing, I couldn't say.

Sure, you can do that...but for what real gain? You can't realistically extend the use of that combo beyond what you use it for now. It will always be underpowered and you'll be hauling 2 pieces of kit to boot. As a project, then sure, swap out a speaker, but a waste of money if you expect it to be of much better use that what it is now. Just my 2p..

In a the pub/rock world you can have an ipad for recollection where it sits down by the monitors unseen. You have a footswitch to flick thru the songs but music stands are a complete No-no now, I think.

[quote name='discreet' timestamp='1399399749' post='2443882'] Maybe I'm missing something here, but why would anyone refuse a bass player for having a five-string bass? That's the bit I really don't understand! What difference does it make? Surely it's about whether you're any good or not?? [/quote] Well, looking at the unit that was playing, it was all about him, and maybe he just thought the more strings the more notes and he don't want a bass payer like that. Not the most uncommon stance from a gtr, I'd say...they can think the rest of the band are just there to underpin what they do...?? That is why you have 3 piece blues bands.. the gtr player sings everything and plays everything and he wants simple from everyone else.... This is why I've always found 3 pieces pretty unwatchable as the gtr has to stonkingly good to be able to keep it interesting for the whole show/set. I tend to favour units where everyone gets to bring their piece to the party...but then you need equal players to the gtr..etc etc Anyway, the band was obviously built round the gtr..and he was pretty good... but only the very best don't run out of things to say, IMO especially once you have done the shuffle, the swinger, the rock-out and the fat shuffle etc etc etc and then they think to mix it up we will do a non standard 12 bar..

Not entirely true if they have overseas manufacturing costs... As the user sounds like he likes old SWR, I'd put EBS into the equation as well.

[quote name='discreet' timestamp='1399379848' post='2443584'] That's what I totally fail to understand!? Can anyone explain it to me? What possible difference can it make?? Especially if you're doing them a bloody favour! I would have made my feelings clear! [/quote] Local gtr hero, I guess.. playing in a blues band ...which tbh, is not so much my thing as I get bored holding up the bottom end for endless whizzing. I'd get bored in other genres as well....but even more so when the song goes, Intro, V, Ch, V, Ch, ENDLESS GTR SOLO V, Ch outro on every number, but I've done enough and I do have good e nough ears and can hear the changes on anything that is not a 12 bar. Anyway, I knew the trouble they were in but since they seem to have guys willing to get up and do it, I let them get on with it... A few crashes but no train wrecks I guess they think they got away with it...and probably they did.

By the same token, all my basses are 'grooved in' as much as they can be... That sounds crap but explains it the best way I can think of, for now, so everything is how I like them. So..there is no chance I want to be 'surprised' by what is on offer. I want to be able to do whatever I want to do in a split second and having a pretty small set-up difference so things like string height/spacing are highest on the list. String gauges and everything else come into it all too. so if it is any sort of struggle, I'll not be too interested. And then we get onto how I want them to sound and all that entails.......... and so it is easier to do it my way or not bother.

I think it is plausbile to believe that a company like Fender can buy out some decent amp makers and just write them off/into their business model. If that means they now own patents and valuable R&D from those companies but by the same time, wipe out a bit of competition along the way, then they are big enough to do that.... ????

If you racked them up on the gigs, then yes, you'd qualify. IMO, of course.