JTUK

[quote name='molan' timestamp='1383953103' post='2271341'] I work now and then in a bass specialist retailer - we have a full length mirror and a white board that can be used as a photographic backdrop. There is a good reason for this. . . [/quote] ha ha ..... But of course, looks matter...it is as much an image driven industry as anything else.. One of the the first thing a record company will do is employ a stylist... And you can't say videos aren't ALL about image either... 99% of the time

Very impressed with RCF ART 10 A's the more I hear them. Very pokey and will do an reasonably loud band in a pub...i.e bordering on the too loud side of things........ if predominantly vox with a tint bleed of taseful gtr. Should match up well should you add subs. It will not be the loudest P.A but the tops are very good value, IMO. We use KW112's and we think in the right venue we could take out the RCF's instead

[quote name='wateroftyne' timestamp='1383726113' post='2268092'] Tidy! [/quote] Yes...have to agree. Looks like he knows his way around the workshop

Who would want to pull a speaker jack out whilst under power?

RCF ART10A 10" actives. They'll still be worth having if you decide to split

Make sure you phone ahead just so these shops have what you want to try.. That is not a pop at the shops as you can't expect them to hold everything, everytime so I make it easier by calling ahead and timing your trip accordingly. Not point driving 2 hrs and not trying what you want. If you end up at Bass Gear, who will accomodate you very well, IME... buy a set of strings or something. So many goodies there, there must be something worth all the coffee

[quote name='fretmeister' timestamp='1364135926' post='2022260'] I use a [color=#282828][font=helvetica, arial, sans-serif]Mackie SRM150 and it is superb. Great little thing.[/font][/color] [/quote] We use 2 and they work very well with a loud backline as they are very directional. None else will benefit from them bar the singer they are pointed at but that is the point of them. Strictly vox only but pretty decent...

Talking about Ampeg failures...and maybe we shouldn't., in view of the Soundgarden gig, a friend of mine told me both Ampegs failed on a bill recently. I know a amp tech who really isn't keep on them... so I guess he sees a few, plus some of them are so heavy he can't get them onto his workbench, but then he is retired a few years...

The OP needs to decide...with the band... that the part he is playing works as a slapped part...in context with the band. Quite often it wont...and that will save you a lot of time. What can work tricked up soundwise on a studio track does not always work live. As for the part itself... you just need the bottom end bubbling away...with a few staegic pull-offs. You can do this with ALL thumb or ghost note pats...and the goal should be to get the part working in context rather than ripping the line. If the band do not make room for this in their mix..then all the homework in the world will not really help.

wow..... one thing I never found was the GS112's being boxey. They had masses of low end for me with a 5 st... but what didn't work... even with the tweeter, was the hi-end unless the strings were very new and crisp.. This is why I sold them... the band loved them though. I find the DB212 which use the same chassis' much better higher up...and it still have great lows which underpin everything. If I could find a pr of DB112's that would be my small footprint rig..in place of my current 112's

Just to add ... another amp that worked straight off the shelf was the PF500...IMO.. but the trick is whether these sort of amps amp up anything like as well.

Further to the point about subtle EQ.. I think the TH has it...and I think the DB750 has it... and that is good as these 2 amps sound good straight away when you plug in if you aren't chasing your bass sound. I actually think this is the way it should be as if you haven't got the bass sounding good, then all you are doing is amplifying a crap sound..and that is not a war you'll win very often, IMO. Too much colour..as opposed to bias... is not the way to go, IMO.

And because music is a cruel world... as she may well have found out herself. If she did indeed get bounced at soundcheck, then that is the way the music industry can be... you can either cut it at the level you are playiing at or you can't. Its that simple.... I doubt there are many here who haven't found that out themselves in some form or another.

I think it depends what your 410 can do and what your 2x112's can do. First off, don't even think about a single 12 matching your 410.... so you will need 2x112's I don't think the EBS classic line is going to be comparable ...it is a cheaper option but not the best one, IMV But you may want to try them to rule them out.. So, that leaves you with higher end 112.. I think the heavy old DB212 takes some beating ..and outperforms Berg AE112's to my ears, but a 212 lump will cover the gig easy but still bash about your walls so no real gain. I'd be interested in hearing the CN112's at gigs and maybe the SL112's. Otherwise, my choice would be some ceramics and since I know how the DB cabs work, they would be number one choice for me.

Nice one, Barrie. I thought the TH and CN112's were a very good match at your shop's demo room volumes and was was close to the DB750 but I doubt it will do that at larger volumes,. Not that it was at all bad...not at all, just that the DB750 has more legs and grunt and will proove that on larger stages/ I'd be quite happy with that rig..on that demo... as my B rig. But..as far as AE112's go... they do lose focus up top, IMO... especially if you compare that with a DB212. I am convinced by this. If I run a TF 550-B with 2xAE112's against the DB212 without touching the amp EQ... the AE's do not keep the hi mids as well...they get lost. For this reason, I will probably move them on. Not saying they aren't very nice cabs, but they aren't doing it for me. The gigs I tend to use them on..I can get away with...hence why I still have them... but I am still on the lookout for lighter, smaller footprint 112's.

Unless there is something in your set of 4's that will increase in value, more likely..like a 70's jazz or early MM... then sell them. You can replace them at some point easiliy enough.

I'd rather have the bass that I want than worry about playing them in sh **holes I don't get why people would play those places... but if a bass get damaged, it's only wood so get it repaired.

THE Pink Floyd show for me....

Pretty sure that is DC..... Erskine does just the 2 tracks, iirc...

[quote name='chris_b' timestamp='1382299956' post='2250436'] I'd keep the basses I've got and buy an Aston Martin. [/quote] ha ha ... yep, Very happy with my basses and I am not after anything, so I'd be spending on something else..and and Aston sounds the ticket...assuming I also could afford to run it. Lottery win and a new additional bass might be on the cards ...along with quite a few other things, but I don't think my basses need changing atm..

[quote name='Musicman20' timestamp='1382967977' post='2258531'] The only problem with this route is that its going to end up being very expensive! You may as well stick to the rig you like and DI, then let PA deal with that for you, and have it coming through PA monitors to provide both tones! The reason the Genz is rolling off the deep lows (high pass filter), is that you really don't need that huge low end on stage...plus it also protects your speakers from huge sub bass coming through. Genz voicing on the GBE/Shuttles etc is more of tight, punchy defined low end. Much easier to use on stage IMO. [/quote] Agree............ you really don't want a lot of deep bass getting everywhere into mics etc ...as you'll never get rid of it..and if you have a room with a few issues then the end result could be that you can't use your backline anyway.. This is ok-ish IF the P.A has good monitoring for bass but I've seen the frustration when bass player can't use his 15's... and has to cope with monitors and we aren't even talking about the bass using subs as backline yet.. I think the OP will be ok with this approach if they don't use FOH much... And now we get why Ampeg 810's became the rig of choice Sure, there are better rigs, but the historical ground they gained back then still pays dividends.

[quote name='molan' timestamp='1382906526' post='2257934'] The complete opposite! Our drummer was ill this week and I got hold of a dep at very short notice for a rehearsal. We paid him £20 for the rehearsal and £5 petrol money. Hs not a pro musician or anything but he gave up his time and we really needed his help so we were happy to pay him for an evening's 'work'. [/quote] This... they NEED your favours... you shouldn't have to pay for it. We would use the kitty for this... which the BAND earns, but if not, we'd cover it ourselves with an equal band member split on the session. We don't expect non band members to pay for band things. I'd ask then what is really going on..... i,e do they want you to join? If the bass players abstains like this too often, you do all the leg work..and he turns up and gets paid on the gig..?? Who is the dep here ???

FWIW, I think Verdine White has been miming 'his' parts for more than quite a while now... which kind of makes a mockery of them being a great live band... Wasn't THAT knocked out way back when I saw them at Wembley.... but then that place can kill most bands.

shocked and sad