JTUK

Depends what you see the rehearsal as achieving..?? We have more goals than just getting the track right, altho that is a large part. But would I put up with ringing ears from a rehearsal..?? no, I wouldn't. And if the band didn't get that in probably the most controlled enviroment it will put itself in, then that is the beginning of the end of the band, already, IMO.

[quote name='nugget' timestamp='1365099888' post='2035401'] We had the same problem with passive mackie 300z which look the same and might be similar inside but without the amp. Turned out all it was was one of the output wires from the crossover inside the cab had a bad solder joint, easy free fix.That was a few months ago and not had any probs since [/quote] Did that happen at all volume levels or just when things got louder...? but yes... you might have to test every component. Try the speaker in a passive mode... but you will need to know how to unplug things to do this...

[quote name='spongebob' timestamp='1365096625' post='2035346'] Sounds like it I must admit! I think with the demise of the band, which I put lot into, it's a bit like all I can see me ever doing is the pub/covers circuit....and TBH it's a bit depressing, what with gigs getting harder to get, and most venues being half-full! I almost feel like I want to just get something else going on - music has always been, and is my life. Without it there's nothing going on - and so it's a little daunting when I started to look at it - and if that's all there is.... [/quote] First off, if you can get a useful price for a bass and you don't think you get full value from it, then sell..if you don't get the price you want, you don't have to. As for gigs... yes, schlepping round pubs is depressing, so don't.... but you need to find a balance between desired gigs from your POV and desired bands from the bookers POV. I always wonder why original bands are still going after 10 yrs and playing to nobody but it is probably because nobody wants what they are selling... It can be the same equation for covers so you need to pick and stick to these gigs you want to do,.,, but you also need the other guys to agree to this.. Bands...??? can't live with 'em..... ...................

I'd be thinking that is a result..as amps would be easier..although not always cheaper, to sort.

I am assuming you think the problem is with the 15" speaker and not the horn...? Strange as most horns on these types of cabs get quite a beating and it is the first thing to go, or rather, degrade IME. For that, read distort.. I would suggest the speaker is on the way out... and putting a kick through it wasn't a good idea. FWIW, I wouldn't run kick through any of this level of cab..and if you need to do so, you need a sub. As far as I know, the early Mackies were the more robust and the later ones ( non USA ) were where the QC became more suspect. I would pursue a line of thought that the speaker is the problem...and you might want to ask here what chassis they used as someone will have a pretty good idea/guess.. or talk to someone like Wembleyloudspeakers. If you are replacing the chassis...you'll need to get close to the version they used..and this is the hard part.. no one wants to let on what off the shelf speakers they use... and they may indeed go to some lenghts to obsure this. Many speakers in cabs tend to borrow pretty heaviliy from a makers product list, I think.

A recent observation of the pub scene round here has thrown up quite a few tribute bands. Tributes in a pub..??? hmmmm, not sure on that one. too same, same, same I see it as more of a ticketed venue type gig..

No problem, glad to help. I've had very good results with these as well...in smaller situations [url="http://www.ebay.co.uk/itm/2-ramsa-studio-bass-speakers-with-subwoofer-processor-/290892122980?pt=UK_Sound_Vision_Other&hash=item43ba858b64"]http://www.ebay.co.uk/itm/2-ramsa-studio-bass-speakers-with-subwoofer-processor-/290892122980?pt=UK_Sound_Vision_Other&hash=item43ba858b64[/url] but the cones went and I have no idea where they live now.. (They were tiny..!! but good in a smallish function room ( 100-200-ish ) with a punchy band.) That is the problem with older stuff... replacement parts are harder to source so I would make sure the kit has current recone kits or someone knows what chassis the unit is based on. It may be off the shelf or bespoke... which muddies the waters where sourcing is concerned.

[quote name='51m0n' timestamp='1365006650' post='2034069'] I was pointing out how the reality is that serious players do use 410s on really big stages as personal monitors, with the rest of the band naturally relying on PA monitors. And that no matter what the alignment no one would use a bass rig to cover a really large stage totally with the bass (not practical for FOH sound for one thing). So alignment is largely irrelevant on large stages IMO and IME. And IME on smaller stages a standard 410 has worked fine, and even in the backline as FOH scenario, since in these smaller venues IME the acoustic is shot to bits anyway, so the reflections off the boundaries do more damage to dispersion than your cabs alignment can ever fix. As for the mids thing, that is a direct reference to your thoughts on the recent Markbass thread where you stated the following:- I really couldn't be bothered before but here goes, in for a penny and all that:- [i]* Low mids can kill your sound as much as save it... in that you might have a sound coming through everyones else, but what sort of sound..? *[/i] A really great sound, musical, clear, definied, punchy and not just felt, not at all honky or nasal, just classy. Its a balancing act like everything else to do with mixing. [i]* Should you accept a punch through the hole approach... and the loss of any real interesting bass definition, potentially. or should you set the whole band up so you can get your sound to work? *[/i] What is "interesting bass definition", why is that in any way lost if you also adopt the practice of allowing some mids to poke through in useful places? Frequency mixing is an absolute staple of all forms of mixing it is about the only way to make everything heard. Definition is in the mids, not the bass... What on earth do you mean by set the "whole band up so you can get your sound to work" precisely? Cant imagine a worse way to make a good mix, live or anywhere else. The polar opposite of what is being suggested. [i]* To my ears Markbass is punchy and efficient, but too many players use the mid punch approach and the bass is just plain dull and uninspiring. *[/i] How? What is uninspiring about a great bass being heard musically (ie the pitches of the notes are relevant)? Your opinion appears to be that all that is required is deep bass. Fine, great, but the theory (and practice) is that we dont hear that so well (Fletcher-Munsen curves), and we cant differentiate pitch well from sound that low in pitch, and I am willing to back that up with real evidence. If you want the deep bass approach it works great in a recording, far less so at gig volumes. Its an unfortunate fact of life for anyone who doesn't like a less bass heavy sound. Again I would happily back that up, but you dont have any clips we can hear ogf your band anywhere, or you just arent willing to share. For what its worth I personally dotn find MB particularly punchy,, now my ae410 on the other hand, that really is all about the punch and definition. [i]* I don't blame Markbass so much as the people using it. and the way they choke off all character. *[/i] Thats big of you, please please show me on a recording what you consider great and characterful bass sound (it really needn't be you) I am truly fascinated by what you are drawn to at this point. One mans character is another mans dull thud. The other mans character may be the first mans nasal assault.... [i]* I really don't get why you want to accept something that works in a mix...but doesn't if solo'd.. *[/i] Clearly, but then you dont understand the first concepts of effective mixing as laid down by real legends in the art/science, and used for the last 5 decades to create well structured, musically pleasing mixes as enjoyed by everyone, in any and all styles of music. Until you get that we are doomed I guarantee you that any album you happen to hold up to be your guiding light for bass tone either used this approach to mixing or it would sound like utter garbage. [i]* A wall of sound and volumes wars are never a good mix. *[/i] Agreed. Which is precisely why we use frequency mixing to allow all the instruments their own space to be heard in, and its a lot more complex to do well than simply bass at the bottom, then kick, then guitar and snare; oh, wait what about the vocal? Doh! Good mixes are good because you can hear everything, it all works together to create a beautiful final product greater than the sum of its parts. The human brain does a staggering job of filling in the bits that have been cut away to allow this to happen for one thing. If you insist that a part sound beautiful on its own it may in fact ruin the mix. As many people on here have found getting heard at gig volume often means a less beautiful soloed timbre, what the hell does that matter? How many punters came to hear the bass and how many came to hear the band? [/quote] Boy, have you got problems? You must love the sound of your voice a LOT. You must like reading your posts back even more. and there are a lot of them Not something I am going to waste my time doing, I'm afraid and you will just have to live with your assumptions, --but I garauntee you are guessing...--- but then I just know you are very comfortable doing that... But, your voice and rant is just plain boring now ..and I guess for everyone else too, so chill indeed, I will. I have better things to do.

[quote name='Low End Bee' timestamp='1364995179' post='2033775'] On a personal level I'm thanking any relevant deity that I'm not lumbered with a juke joint and ZZ Top. [/quote] Hear, hear... add Status Quo to that and see where the thread goes Anymore takers..??

I don't think I've had to agree... I pointed out my thoughts, you pliled in.. and seemed to take issue with what i said or enough to quote my post...and now you think I agree..?? That was why I asked whether you read previous posts. I've not said anything different.and indeed requoted it as post 337. I have a copuple of examples of stuff that I consider ok to put out but do I want to share them here... ? not really. If I was interested in that sort of thing I would have done it ages ago.. I don't really need any 'endorsement' ..or not.. as I don't see this forum as the a place for it. If others do and want to promote certain things and bands, then fine, but that is not what interests me here. You are just going to have to take my word for it....or not. But as an aside... very recently, we had to demo another drummer..and just from the sound point of view alone..that did not work. Wont go into what else didn't work either.. but the drum sound in that instance was no help at all to a good band mix.

The best compact subs I've come across have been EV, either the old passive SB122 or the active ZXa1. Both built round 12" so the footprint is very good and for your band they don't have to be LOUD which I don't think they will do anyway. The 15 and 18" subs should give a completely different level of sound..but then you'll pay for that in terms of size and weight.

Playing on 12 mtrs stages is no big thing, and I'll find my 2x210 will need a lot of help. A Theatre type hall will have one of that size typically. Even one or two good local beer Festivals can call those up.. That size, enought to buy a 410m to sit under it..? no. not for the few gigs a year I'll do on that ( even tho I've thought hard about it..) but I will talk to the P.A co about the monitoring they can provide. Not got at any festival gigs abroad in the offing at this point..and they only come around every few years but I wouldn't take anything bar basses anyway.

[quote name='JTUK' timestamp='1364897458' post='2032236'] Indeed, you'll only get away with a 410 on a decent stage if the monitoring is good. That means a stage mon mix and side fills, IMO. [/quote]

Not sure that these are ambitions, tbh. A good gig is a good gig and there are certainly more on the list to avoid that go after. I try to evaluate what benefit the gigs brings and how interesting it can be. I've done the dives and the travelling... so am done with that but if a special sounding gig can look after you, then that counts for more.

Nicer components are nicer components...and well made kit is well made. You wont hear it though. I think it would be better if your amp was better made. I think you would likely see the benefit of that over a period of time..but if nothing goes wrong, it is like insurance..you ask what price the premium..!!

Can you read ..?? or are you so intent on banging out your own posts you kind of skip that bit??

I am saying that a 410 is ok for a small stage and a small band, .. but anything like a decent sized stage, say 12 mtrs or more wide will need very good monitoring or you'll be standing right on top of your 410 and no one else will hear it. And if that is the case, then a 810 will struggle as well.. so nobody has specc'd it very well. There is a reason why nobody takes 212's onto these stages as well.

I'd suggest you are playing small stages in small bands.

[quote name='51m0n' timestamp='1364901325' post='2032296'] Err you can try and set the whole bands sound up around yours, and to some degree you certainly should. But that wont necessarily make the best mix, or indeed make the bass easy to hear on stage, or in the audience. [/quote] I wouldn't dictate my sound over anyone else's... That is another fight you don't want to get into.. I would expect everyone to have the common goal of finding a slot or layer for their instrument and we work on it collectively to the common good. I find I don't really have to mess around too much and I also don't have to have the cabs up near my ears to hear either. That is a pretty futile exercise to my thinking as then all you have achieved is that YOU can hear...it does nothing for the out front sound. You are starting in the wrong place there. We've done this and invaribly have a good sound...and in most rooms. It is not much like rocket science, really...

[size=5][sup]Low mids can kill your sound as much as save it... in that you might have a sound coming through everyones else, but what sort of sound..?[/sup][/size] [size=5][sup]Should you accept a punch through the hole approach... and the loss of any real interesting bass definition, potentially. or should you set the whole band up[/sup][/size] [size=5][sup]so you can get your sound to work?[/sup][/size] [size=5][sup]To my ears Markbass is punchy and efficient, but too many players use the mid punch approach and the bass is just plain dull and uninspiring.[/sup][/size] [size=5][sup]I don't blame Markbass so much as the people using it. and the way they choke off all character.[/sup][/size] [size=5][sup]I really don't get why you want to accept something that works in a mix...but doesn't if solo'd.. [/sup][/size] [size=5][sup]A wall of sound and volumes wars are never a good mix.[/sup][/size]

Indeed, you'll only get away with a 410 on a decent stage if the monitoring is good. That means a stage mon mix and side fills, IMO.

If you are going to be on the Continent you'll have to get networked in the large cities...but that is the same anywhere.. As for the U.K..plenty of gigs out there. It isn't easy ( at all ) to earn £30k from music alone... but you can gig thursday to sunday easily enough, should you want to. ( mondays to wednesday are the tougher finds ) Whether you can do that on a blues gig alone, I am not so sure, so to pick up the pick-up gigs, you'll have to have something else about you. I wouldn't call our ( down south ) gig scene great and plentiful, but I'd call it good.

NIce work.

The bass I hated the most was a 75 or 77 Jazz. What made it worse was that I sold it for £250 ( ages ago ) and it would go for 6 times that now, probably.. but I think I would feel guilty taking that sort of money for that pile of poo..!!(

[quote name='flyfisher' timestamp='1364654316' post='2029276'] Sounds like pub-vs-venue is the border between being a pocket-money/hobby band where another source of income is essential and a truly pro band. Being firmly in the 'hobby band' camp, it's an interesting insight, but it's not a transition I'm ever likely to make so I have to rely on those 'other attractions' because making money certainly isn't one for us. [/quote] It is just about positioning yourself in the market. There are plenty of ex names doing the rounds round here and they need to ..or rather do..call on a other ex names. Even in the 1st instance, it is a selling point, as these names want/need a certain fee from a gig. This puts them out of reach for most pubs..and even those that can take the numbers, will have to have a door charge. This means a pub might need to sell over 100 tickets at £7.50 to get close to being able to pay the band. The band may need/have a few useful local players ( without a name) to be able to function. The names might take £150 each..and the other guys the rest... and this is the way of the world. The non-names might think there is great kudos playing with a 'name' and they might benefit from the better type gigs. This falls down when the 'name' gets a 'tour' going though... when the locals lose the gig, mostly. Anyway, the point is, how you position what you are selling...and the 200-400 capacity venue is within the realms of a local band to sell tickets and bag £750-1000 plus per gig. The easy option is to do weddings or functions for that sort of money and there is nothing wrong in that...but it depends how you see your band and can you justify the fees. The first few attempts will tell you if people agree with your 'valuation' :lol;