JTUK

I am going to use this cofig with Aguilar. I have a DB212 which works very well,,,so far..on its own, and I also have 2xDB210's which I can run on top. This week I will go 212+210 and I am expecting GREAT results as I like both cabs standalone. The 210 will stay punchy and the 212 will handle low mids and grunt.... I don't need or want masses of low end extention... the 210's have easily enough lows for me. We aren't talking about being bass light at all... just not swamping the stage with stuff you can't manage. 212+210 sounds great altho unless the impedance of the cabs is 4+8, you need to be careful how much you send to the 210's. Mine are 8+8+8

Don't get sucked into a heavy bass tone....as that will not travel focused very well, and you suck a lot of power from the amp.

I really like the flush single handle on the side if the CN112.... makes perfect sense to me. Not so keen on the DB12 handle. The top handle on the AE recesses well so it appears that Berg have a handle on their handles... Berg certainly have a very good visual on their cabs aswell..the latest CN's are very natty with that graphite look. Smaller that I thought as well... I doubt you get a conventional amp to sit atop of one well...it would look silly. But... pretty convinced the TH500 is the amp you'd use for this mini rig, anyway.

[quote name='Conan' timestamp='1376903114' post='2180438'] True - but intestesting that when buyers of Barefaced cabinets trot that one out it attracts criticism and some say that it is no excuse for (what is perceived as) inconsistent QC. Just sayin'... [/quote] Indeed... I can buy cheap but not for cheap's sake, and I don't mind paying a premium if that premium is tangible as far as I am concerned. What I don't like is cheap product at a premium price. I didn't feel DR were worth the premium and when I stopped buying them, I thought they had QC issues. They may have sorted these out or the percpetion was mine..but I know what think and experienced... and I am not likely to go back at their price point. A pet hate of mine is companies that put out a good product..sold it on to a BIG player, lost the ethos and the control of the man/men that made the company good when the accountants stepped in and shifted production out to somewhere ( far east ..?? ) so the stock holders could max out the dividend. Stellar marquees that went this way...IMV... and are not the same for it, are SWR and Eden to name just 2.

In general.... Too much bass kills good tone. Example. max out your bass control on an active bass and see where that gets you. It may well fill the sound out but you may not have clarity and character to your sound. ..In short, you are getting toward MUSH territory. Also, Can you play clean enough to use a bass sound that is pretty pure... sometimes that extra bass makes the bass actually playable so I am not sure I get a sound that has a LOT of bass and has clarity.. Does not make sense to me. If you are wanting to cut through in a mix.... you don't want to use a bludgeon as this is sound fill.. what you want is sound gaps in the spectrum. Example... you and the gtr are fighting to be heard... who wins if he is in your sonic territory..??? no one, you have a mush mix, These simple little pointers are why 2 Les Pau's and MM bass would be a nightmare for the soundman... unless the players were really on it and knew what they were doing. A mix is not every thing louder than everything else... it is about staying out of the way of other instruments.

If it were me, I'd get the bass back... refurb it for the customer so it befits the name and hand it back to him..OR refund, do same with bass and sell again. I wouldn't want a 'sub-standard' example out there that had passed through my ( the shop's ) hands with my name on it. The refurb will take time and therefore money but it will restore faith etc etc ..and in 2-3 months it will all be forgotten. If this was handled ok..then the buyer could publish that all is well in the world and we are passed the whole saga.

Newtone Diamond series. I've tried loads after becoming disatisfied with DR... havin g used them excusively since the early 90's... I find Newtone not the most zingy out of th box... (and no matter what string I've tried that real zing goes very quickly...) but they keep that sound for months so the dull-off is less noticeable. Great to deal with as Mark N will custon order ..and seems good to his wood about using a decent steel to make the strings with. Something I noticed was a bit too 'variable' in other products. I am guessing here..... but if QC isn't your top goal, you might always be on the search for the best price for the steel and that mightb bite back. I have been used to cleaning my strings..but that got pretty hard to do of late...and I haven't got to the bottom of why that may be..?? but with my Newtone, that stay fresh and are £30 for a set of 5's made to my specs.. i.e tapered core on ALL 5 strings. that cleaning them isn't something I really need to do. The yearly buy is a max of 6 strings...for 2 basses. and I have 2 packs brought some time ago waiting to go on. It is about time I ordered some more..but I just am noy giong through them as I used to... I used to have a stock pile of strings by various makers but I will get rid of them soon as not neexded. Small British Company with a nice ethic, IMO.

[quote name='molan' timestamp='1376850754' post='2179971'] Mostly I think that they look cheap and nasty. Both on stage and up close. Don't look, or feel, to have the build quality of lots of other brands. Also a lot of people whose opinions I respect have had real issues with them tonally. I realise I shouldn't just rely on third party comments but sometimes you just hear things from people who seem to really know their stuff and have to have to give them some credence. When you don't like the look of something and you hear they it doesn't sound great it tends to colour your opinions a fair bit [/quote] Well, they do look cheap and nasty... IMO (Get a cab builder FFS.!!! ) but I have also heard more than a few people say the same thing about the tone... But hey, that is not a problem, I would not be buying.

Bass Gear is great but you sxhould ring any shop you intend to visit to see what they currently stock. If you are looking for high end stock they have some great stuff. They say they are getting a big Berg delivery soon.... but check with the shops. Top end gear can goes out the door pretty quickly

Again..round here... the pub grub market is vibrant it is probably the one thing that has grown.. but you need to make an effort with the food and be known for it. A few bands will do these nights with a ticket cover charge and it is a way to get the more expensive bands into a pub gig. Pub may be a set menu-ish for say £25.00 per head..and the band fee comes out of that. This way, bands will want £350 or £400 for the gig. The gigs are mostly sold out way in advance and people don't mind paying £25 plus per head to geta cover band on the menu. These are not regarded as pub gigs as it is, in effect, ticketed. Much easier to control the budget if you know how many tickets you have sold out on.

Tried the CN112 x 2 today with Chris' TH500 and really like them. I was trying to reference the sound against my AE's and 550-B and I think I prefered the CN112 and TH. Not a true test and not side by side but the sound was very pleasing. The CN cabs looks fantastic as well so these would be a rig ( along with the TH500 ) I would consider very closely if in the market for a lightweight small footprint solution. At shop volumes the sound was pretty close in quality to a DB751 and DB212.... but I would expect the 751 rig to put distance on it when pushing the volume. The TH sounded loud tho...even louder than the 750, but the 750 turns drummers purple and has sheer grunt at the back of the room. Close up you don't think it is that loud. The difficulty here is that in small rooms it is hard to self mix with that sort of 'throw'... and is why I don't think the 750 is 'good' for pubs.. Having said that, I bought the DB212 and am going to gig it tonight with a 750, so bugger off...!!!!

A local hop festival round here... will open the whole town up to a music event, There will be 4 main stages in the town and every pub will have a stage build as well... Stage and marquee companies and P.A hire goes ballistic round here for this weekend. Tonight is the pre event to the main event in 2 weeks time. Over the weekend the town will get 20,000 pass through... and shops and bars make a mint. They may be 70 or so band slots..or more..impossible to count. This is one exmaple of the council allowing money for their hard working rate payers of bars and shops etc etc .. One or two pubs are known to do £58-60k of takings for the weekend...confirmed by the Brewery who supply them. This is 3 great xmas in a weekend for them..!!!!! And the council say it is too expensive to admin...!!!!!!!!! The best music pubs round here...will boast nightly takings of £6k for their best band nights normally... I am sceptical of that..!!!

Depends how they buy in their product. We are playing a pub tonight that pay ok..for a pub,... but sell beer at £2.50.. so maybe 60-70p under par. The rent and rates have to be paid despite who turn turns out. The LL may buy in a barrel at £40 plus .... and if he got 70pints frm the barrel...he gets £180 plus per barrel at £2.50... If the pub is tied in, then the brewery will not sell barrels at anyway near this price...but they may well give them back an entertainments budget. Back in the early 90's pubs round here, were getting upto £60 a week towards that budget and could afford to put on 3-3.5 days of music. Typically wed night, fri and sat night for the premo bands, and sunday lunchtime. If they don't get any budget they have to really work it hard. The pub that Steve-BBB is talkin g about have worked REALLY hard to get the pay-off now and he had to hold his nerve.. But...it pays cheap... but since he is over-subscribed, he can do this. It is a fine line between paying for top bands and having them pay that back with turn-out and for that, there is no garauntee anyway..... Sometimes there is a lot to be said for doing as it is a nice gig..and that counts for lots.. Steve's band is lucky as they always have a zillion hot MILFS on their gigs.. can't think why this... but that sort of thing gets noticed very quickly by LL's... Round here...every single LL will ask you at the booking stage..have you got a following so it is hard to get a start. On the other hand, this is why I have less sympathy with bands that don't draw... and why listening to original bands talking about playing to 20 people, and most of them are with the 4 bands on the bill. and complaining about the turn-out...???? In today's market..THAT IS THE DEAL...! For good of bad... and whether you are good or bad... the turn-out pretty much defines the band. Do enough gigs to 2 men and their dog and you will not last long..and why would you want to. We don't do many pubs now...but if we do one and the turn out is low...and that can be down to us, then we aren't likely to go back. There is not enough money in pub gigs for the work, IMO... so there needs to something else good about it.

On purely the photos and also knowing Sei's work, I'd say the Sei J5 is an awful LOT of bass for the money. He is right up there with the very best, IMO.

[quote name='molan' timestamp='1374095514' post='2145307'] Give it about 6 weeks and the amp room will be stuffed with new Aguilar and Bergantino gear [/quote] I'm there... in fact, I'm going tomorrow.

Any boutique bass worth its salt...and that is not a given, IMO... should score on construction, components and QC. My late 70/80's MM was a great bass with a rock solid neck...could cope with a 100 guage string de-tuned to B and tune it well...and never moved AT ALL, I think it showed me what a good bass really was, IMO. I loved it... only sold it because I went to 5's and didn't want to go back... but compared to what I play now... it was a chunk of wood. That shows you can use inferior woods and machined prodcution (i,e cheaper ) and get it really right ( they did ) but if a custom maker has anything about them at all then there will be quite a distance between them and a production bass. You may not value or care about the extra but it should be plainly there. IMO/IME.

Yes..was going to say that you need a light tough if the string is so loose... a heavy attack from either left or right hand will not work at all.....as the string will be moving a lot..

A friends band do really well out of it...and I was reluctant to go and see them as I had these pre-conceptions about material but they had such a good spin on numbers....that it was very entertaing. I think...or have learnt...that if you think the 60's is boring, then you are picking the wrong numbers What can be wrong with the Small Faces, Who and Stones..to start with...!!!

I've run a 100 gauge down to B..... and it was doable but you need a clean sound to start with as a poor dull string with not cope well down there sound-wise. The tension is going to be pretty loose as well... but for a single song you might get away with it. But you are now in 5st territiory and once you need to do that for a few songs, you might just as well suck up and get a proper bass for it...

[quote name='Muzz' timestamp='1376577283' post='2176341'] Sorry, but this is bollocks. The clients couldn't care less about particular rigs, much less bass rigs - ................ [/quote] I think clients can care VERY much about the look of things. To the point that it has been pointed out to us that the stage must be completely clear and the cable/power runs need to be black. Some hotels are VERY picky about that but they pay a premium and they get indulged...or you just don't get the dates. Can I be bothered about that..? no, but the money can be seductive

[quote name='clauster' timestamp='1376571303' post='2176205'] I think this attitude is a big part of what gets up people's noses about BF. Not all other heavier (or otherwise) gear sounds inferior. BF sounds good to my ears, but I don't think it's the last word in bass tone. Yes, for their size and weight they sound amazing, but if size and weight aren't an issue, there are rigs that sound as good if not better to me. They also look better made as well. I did say "look" better made. I have no concerns about the build quality. [/quote] There are gigs that looks and aethetics are an important part of the deal. Some stages just would not entertain some kit... and as for the question of weight, why would you care if you have crew..? 810 are heavy but they are known to fulfill their function well enough. If your number 1 criteria is weight, that brings certain kit into the equation...and that may be placed higher than tone or build quality. Others place other qualities at the top of the list It depends what compromise you want or can live with.

[quote name='stingrayPete1977' timestamp='1376550808' post='2175693'] That's why your not playing one in any of your photos or videos with your band I have been looking at then [/quote] Might have been...

Stingrays are sh*t...

The thing that put me off the NV610 was the percieved lack of a horn... and I was desperate for a 610. still am in a way but might cover it with a 410 and 210 as impedance isn't the issue with a 750/751.. I certainly wouldn't worry about the bottom end ...that rig should be punch city. I think it is a fallacy about bottom-end, tbh..sure you want depth there, but you don't want BASS.... as the places you use these things on, don't need bass all over the mix that you can't shrub off. It wouldn' be light in sound though, for sure.

My Berg AE112's are great cabs alround. They aren't the best cabs I use, IMO. The only downside they have is that they just don't sound as weighty as say, GS112's but the GS is a lesser cab IMO, alround. The Berg has a better balanced range to it. I'd be interested to hear the SL112's in anger as only tried them at low volume.just to see if there were any NEO cabs/chassis, I liked. I have to say I haven't found one so far, and I've tried a good few. Low vol isn't the place to pick which cab from tho', IME. I don't think the weight of a ceramic 112 is any sort of problem myself so that isn't going to be THE factor from my POV. Does build and QC come into it..?? absolutely, for me... if you scrimp on simple things, where else have you scrimped. It is also about judgement, and that is something that has panned another maker on here. If you go for a Pro market, then you have to go PRO... that means PR, Website QC, R&D ..etc etc There is a thinking that aethetics DO matter at some point. You turn up at most gigs...IME, and the kit you use is noticed. This can help you get the gig again. I'm pretty sure quite a few muso's are snobby in this way... when you see the money they have shelled out. for their kit. Of course, it doesn't matter if they sound crap with great looking kit, the deal will be done, but you can have both. Berg do this. Aguilar do it. Baer certainly do it.. How hard can it be...?? Even if your core market is the pub.