JTUK

[quote name='discreet' timestamp='1399375725' post='2443522'] Horses for courses. If you're not in lots of different bands or a busy session player, then you probably don't need lots of basses. I know the phrase 'probably don't need lots of basses' does not compute on this forum though, and GAS is contagious! [/quote] You'll laugh at this.... band turned up at a local beer festival and was scouting round for a bass player to cover the gig as theirs went sick ( apparently ) As it happened there were a few bass players about that day and they all agreed to cover a few songs. I'd said I'd help out if they wanted to but I would need to go and get a bass ( it was 10 mins away )... as I didn't fancy getting to grips with what was there... ( you know I'm a bit fussy like that ) It was only a blues gig but they seemed to think some of the songs would be difficult if they weren't 12 bars. Anwyay, gtr player didn't want a 5 string on the gig...??? so I left them to it. Don't think it worked out so well ( I stayed and listened to it ) as I got a FB friend request from them this morning...

Use what the people you are trying to work for use...and if you are doing pubs, then most pubs use FB, IME. Easy to keep upto date and network....which is THE most important aspect of them. Websites are more useful when you have clients willing to search you out and research you but you need better paying gigs to make them worthwhile unless you have somewhere very cheap/free for them to live/host.

[quote name='neepheid' timestamp='1399369911' post='2443431'] Can you please quantify what "too many basses" is? I want to gauge how much of a poser you think I am. [/quote] What gigs are you doing?

[quote name='EMG456' timestamp='1399368917' post='2443414'] I never understand this argument at all. Too many for what? If you are playing for the public then to my mind at least you should have a backup instrument so that if something goes wrong, you don't let anyone down. What if some tunes require fretless? Do you also need a backup fretless? Extended range needed? Mmm... 5 string, 6 string... should I have fretless versions of those as well? And so far this ignores the fact that a Jazz sounds/ feels different to a Precision or Ibanez or Alembic or Wal or Musicman etc. etc. In my opinion, owning and using lots of different basses makes you more rounded as a player. You are more able to cope with all of the different idiosyncrasies of tone, feel, action etc. and that can only be good for you as a player. Your only restrictions should be the practical ones - can you afford it, do you have room to store it? The others like can I justify it, do I really need it? etc. are purely imaginary constructs of your own making. Who here would claim that John Entwhistle was more of a "collector" than a player? Not that I'm opinionated or anything... Cheers Ed [/quote] I have 2 basses and don't need anymore for what I do. I am not interested in any fretless styles that I can't emulate on my current basses so 2 of my basses do everything I need. I don't want a modern sounding bass so that had to go... The sound my basses produce is the sound I want them to produce and I don't have any limitations on type of sounds I go for. I can go from classic MM to 60's vintage or vintage modern so can cover anything I need. I don't want 4's so they had to go. I don't want 6's and they would probaly cost you most gigs than they got you anyway If I felt I had a gig that wanted more, I'd consider it. I would add another bass if it was exactly what I wanted but since I'll most likely have to have it commissioned, it would probably lead to me selling a current bass as the crossover would be apparent. So, I don't have tools of the trade lying around that don't actually do any work. I fully understand the defintion of a rounded player but do I think a Wal or Alembic/Ken Smith etc will make me one...???

I'd sell the basses that don't get much air time and if you have a J5, then drop me line. Unless you have extreme sentimentality or you think they will rocket in value, then keep the ones you use. And then look out for one that you can add for live/studio. I never see the point of too many basses as that makes you more of a collector of them rather than a player of them.

The combo needs an ext speaker output and you need to know what load is on the amp stage. I would guess if the combo was intended to be coupled up with an ext cab... then the internal speaker would be 8 ohms as that would allow basic amps to produce max output at 4. This also means that you need to know what the 210 is and I suspect it is 8 as well. If the amp has no power output for you to plug into, then they obviously did not design this combo to do that. If that is the case, then the only way to run from an FX or headphone out is to have another amp before the ext speaker stage. You need to be careful there as the headphone out is likely to be pretty hot into the slave amp. I am guessing the combo is pretty small...and if so, it may well not have enough guts to power the ext cab on its own anyway. Another reason why they didn't design it to make it easy to do so...?

I wonder what people mean by 'boom'... I would call it just a bassier sound which you might want to roll off, but if you are talking about a dustbin type sound, then I just don't think it should be a factor 99% with decent rig. I had to play pretty loud last night on a stage that was built on the units so prevalent in sports halls, so not enclosed and not such an obvious basstrap and I loved the sound. The room was very high and I've heard disasters there before, but I just think you need to be sensible about the bass. I had the active of the usual roll-on for bass, ...I never touched the amp, and I turned the tweeters up a tad. No boom, no gamma, but the 212 and 210 stood on the 212 casters. Best sound I've had for ages, loved it. Tips, don't couple to the floor if the room is difficult, and best of all... be prepared to go passive and/or get those humbuckers out of the equation.. IMO.

Thought I'd upfdate this as I went back to the venue and we have used the house P.A Elias system which is 1600w on paper and a QSC K rig with RCF 905 bins. Just to throw a bit more into the mix... we have also demo'd the Elements at 1200w and we find that good in a pub which just needs a bit of re-enforcment but is NOT adequate outside at all, IMO....not at that config ( 4 x 435, and 2x110 bins ) Will be keen to compare to a Nexo ..which will be outside as well, The Elias runs out of steam for a 350 ppl venue and you are going to have to run big backline ( bass ) for a rock gig. The QSC/RCF copes better but not in the league of EAW. Is twice the cost, twice the gear/quality...?? Yes, in the case of EAW and its contempories, I'd say. Would be interesting to hear what ppl who run this gear in venues and halls think, where the rider is DB tech, Nexo, Meyer etc. Admittedly, the rider is used as much to scare off a few 'cowboys' as anything else but good gear is good gear.

And the point of that would be..???? Because he can, I suspect. Yep..some serious lumber there....the bass is probably balsa or bamboo tho.

You need the recone kits for whatever the chassis' are.... so someone needs to have that info and the cab makers aren't always forthcoming. I don't know if your cab maker is shy with that sort of info, but they may not want to give away the fact that their bespoke speakers are someones else's standard jobbies, repackaged..?? First call is to Schroeder to see what they say and then ask where you can get the cones from and then go to someone like Wembley to fit them. If the chassis are off the shelf, you may well just buy them direct

A proper amp, My mate uses one and it's all you need with a P. Get the cab as well and you are sorted.

Super easy 40th last night. Great venue, nice bar rider and great food ( altho they said they had to throw £200 of salmon away..at least the drummer took all the sandwiches home.. ) Load in was great and we were almost home @0120 (25mins away ) after a midnight shutdown Considering that was a big 4k p.a, fully mic'd and recorded with snake and every ones big rig...so very good going, I thought. Gig was good, just going thru the tapes now. Why am I up now..??

1000 GOOD watts shouldn't come heap, but maybe they do. Get your money back and get something else. You certainly don't want to keep THAT unit even if you still have faith in the amp design.

I don't think there is going to be much mileage in your amps and cabs. Your gtrs may well be too loud, or poorly set up but that is another fight altogether so pick your ground as you will probably be taking them both on. But, back to your gear... you have to run it EQ wise in a way that it 'may' cut through but that empties all your bass which is what the gtrs say they want. The amp sounds like it doesn't have the volumes, but your cabs aren't going to take much more and with a louder amp, you'll be able to turn up more but the cabs will then have problems. Sell it all and start again. If you are going into battle with two gtrs...and I agree you shouldn't have to or want to, then you need a 500w rig with sound to spare. By this time, you should all realise that you can't sound all that good at that volume and your ears suffer/hurt.. .... At least the drummer should be on your side as he can't be building sheds all night and although they think he can be heard...it is only the high end that gets across. So, either natural evolution or BAND CHAT..

You are going to have to compromise between something you like the look of, can get along with its playability and like the sound of for that money

[quote name='wateroftyne' timestamp='1399103303' post='2440977'] Why not Facebook? [/quote] Yep... I'd say a simple FB page would be far more use to you at this stage of your progress. and its free. A website takes more determined admin and has yearly costs to maintain ( domain name ) and host. It may well be a goal at a later point but atm, you could argue what will a website do for you. Agents and Bookers might want a website...for credibility, more than anything else... but landlords often don't have a website themselves.

[quote name='Weststarx' timestamp='1399044251' post='2440420'] This is my bands problem, all they want to play is fast stuff all the time! I always worry it turns into a big noise eventually. [/quote] Plus it is quite draining on both band and audience. But the reason bands stay away from slow numbers is because it is so much harder to make them work.. IMO.

Our drummer needs 3 shirts..

We often encore with 'One' or 'Fake Platic trees' as they are strong songs... but we would also cap it with a (hopefully ) barnstormer like 'Fooled' or Sympathy... But we also decide whether the gig is going to be 1 or 2 sets, and we start strong, go quiet for a few middle numbers and then ramp it up at the end. We have to pace it like this as the energy levels just couldn't be there from song 1. The other idea is to start as strong as a lot of bands finish on, but again, pace is the key or you just wont last the hour, and neither will the audience...

It will help enormously if you can go to the essense of what that player is about. You don't want to trying to mould someone as that is a stpe too far but you should be able to feed them ideas and influences. You can not assume a gtr can handle a solo and chord parts the way you want them to... as they will have their bents like everyone else, it is just that we or they indulge themsevles more. Funnily enough this makes them very easy to pidgeonhole and therefore make them easy to pick.... So, yes, typically, gtrs aren't always the most rounded of players... IMO.

[quote name='gjones' timestamp='1398888009' post='2438752'] ........ The gig started and after the second song, who should turn up but the bassist I was depping for. He came up to me between songs and asked if he could get up and play a tune or two. I handed him my bass and he never sat down again until the gig was over. [/quote] What reason did he give for not taking the gig in the first place? Turning up to a gig and playing it, which he initially turned down would sound quite a few alarm bells, IMO. Tough to recover from dickhead territory... I doubt he will last...

The back panel says L H channel for bridged connects, I think.

It says that you MUST use jack leads for other manufacturers cabs only so a dedicated jack speaker cable into the jack outs is what you need. If you have twin cable speakons...the usual wiring that you can buy... then you can use the amp in bridged mode but NOT bi-amped. The easiest way is just to run a jack out to the cab but maybe use a heavier gauge cable. The manual says on page 10. Since Bridge Mode operation is only available through the Speakon outputs, the type of Speakon cable you need depends on the brand of cabinets that you are using.When using our RBH Series cabinets, using our four-conductor Speakon to Speakon Biamp cable will allow Bridged Mode and Bi-amp operation simulaneously. Since the 50W horn amps are always active, this allows youto deliver 1080W to your cabinet and 50W to the horn. When using other brand name cabinets a two-conductor Speakon cable will be needed but the Bi-amp feature will not work. It is very important, that these two-conductor Speakon cables are wired correctly. The 1+ pin connects to the tip of the 1/4” plug and the 1- pin connects to the shield. on page 11 [b]2001RB setup for Normal Operation:[/b] The 2001RB series amplifier is configured for normal operation when you are connecting to any cabinet with a 2 conductor Speakon cable, 1/4” to 1/4” speaker cable or 1/4” to banana plug speaker cable. In this setup, the speaker cabinet is driven by the 540W amp and the 50W tweeter amplifier is not used. If you are using RBH series cabinets, the volume of the tweeter (relative to the woofer’s volume) can be adjusted using the Horn Level control of the cabinet’s internal crossover

On the basis of that review with the parameters he used, I prefer the CN112 less in every guise and I swing between the FF and the SL112, but since we could not possibly buy a cab on that basis, the video effort is worthless to all intents and purposes. Just goes to show that you have to do your own legwork and research, [i]IMO.[/i]

I will have to read the manual to see why it says that when the left channel shows a speakon out ??? You have a choice to run as bridge or Duo mono which is an odd term. If you think 540w into 4 ohms is loud enough..and it should be, then you basically use one side of the stereo amp...altho they call it Duo-mono..???? Speakon cable is used for heavier/louder outputs as it takes more current/load that a jack... and you would think the bridge option would require speakon. So... in order to get the cab up and running... use a cab lead... NOT gtr lead... jack to jack and run from the left OR right jack output on the amp. There appears to be freq contro marked woofer, horn etc etc l on the front of the amp but I don't know why they make it so complicated. Because of the weird way GK go about getting a high end signal..instread of a simple crossover control.... you could be taking out the hi or lows on that switch... It would make far more sense to use a balance control for L or R and a crossover to determine whether you are sending hi or low to which side..L or R.. To use speakons you'd need a special cable..so don't use that option unless you have worked it all out. I don't have access to a 2001 manual. Maybe wait for someone who uses this amp to come along and make more sense of the front panel ...and how the signal gets split or not.