JTUK

Much more to his tone than a DB751. The amp will be great but so is the signal in. I am not sure of the bass you are using but if it can't do a vintage J bass...and many Jazzes can't do it, then you aren't in the right ball park, IMO I have a TH and a DB750.. the pedal is decent and a good DI backup but the DB amp sounds so good because it does SVT with a thump.. which is also the whole point of a SVT ..the power stage is the king. I actually think the DB is the modern day SVT..just not so heavy. You'll still know you have picked one up tho.. Must admit I am always sceptical about SVT type simulations...I think you may get the sound but not the SOUND, if you understand. SVT and DB sound so good because of the awesome power stages....and anything without that is going to be lightwieght in comparison. Not totally redundant or useless..but not the real thing. IMO/IME.

maybe.... but you should read the thread about an RH450 not being loud enough, and the point is that the 210 is the limiting factor if your band is punchy and loud. There is only so much a 210 or a 112 can do if you need volume. Sure, you can EQ to get more out of it, but that could be at the expense of your tone as you are then in the realms of useable V desirable and they might not be the same...!! I use both 112 and 210 but there are gigs where they just don't work well enough on their own. You will need a top draw 210 to go loud with bass (ditto 112 )...and the limit will be about 350w but that is too much for a single, IMO.

Thought Robbie W was a bit ropey, tbh.. turned over soone enough

it is all very well engrs saying they want this and that..and in an ideal world, then ok... but a band needs a decent amount of volume onstage and for the most part the gigs and P.A spec is a compromise as we don't have the luxury of building the whole stage set from scratch and bespoke. But the onstage sound can't flood into the area the P.A will be working as then you can't mix... you only have sound re-enforcement, but that is mostly a problem in smaller venues where a stage rig can bleed into the general mix... Most players then have to make a compromise...as will the engr and that is ok as long as the end goal for all is to sound as good as poss. Our main problem is that too many engrs aren't very good so they can't adapt when things are less than perfect or time is limited. We generally get the stage sound working and expect them to be able to handle their remit... which is to transfer and embellish our stage sound. We don't want a stage sound where we can't hear everything..we don't play like that and wouldn't tolerate it, tbh. We don't need much FOH EQ.. we need just a bit more than we have as the hall is bigger. Nobody can be oblivious to the end goal though but you have to have references of what that is....which is why you would discuss what you want and expect before the gig/gigs. It doesn't work to just turn up and expect it all to be ok. I am often 'surprised' how unprepared some posters on here seem to be..and what they seem to accept as par for the course and if we have to tell the sound crew, then we will as it is our reputation/name on the bill... but you would be stupid to fall out with the crew beforehand.

Not sure I would ever have said LG 'invented' slap as we came to know it... as he always stroked the string as opposed to bounced into it. World of difference and more akin to today's double thumbing, IMO... and that can't go down to Wotten, IMO as Abe L was doing that sort of thing 30 yearts ago.. But... the thing is LG has stayed 'fresh' whilst others like LJ, Flea and even MK sound decided dated from a style and sound POV. The idea has moved onto where Wooten is now...but others are pased him in terms of developing the technique. What rescues MK tho is his sheer panache and the same with LG...he is just so funky..it gets past everything I guess it depends on what people accept as slap or humbing or whatever you want to call it...but the whole right hand is in play now...and for that you go back to Abe L..???

But the wider issue is that these guys will never get gigs...as slowly they will run out of people to play with....and if they do do a few dates, then the dates will not add up to much over any sort of period and it will all fall apart anyway. Music is a long learning curve at the best of times but you have to get past basics... na dbeing listenable is about as basic as it gets. Fortunately, is is mostly a gtr disease and there are plenty on them to go round... If you did take the drummer and Vox with you... then you can audition the new gtrs on exactly the problem you had with those other two..

[quote name='Musicman20' timestamp='1353760419' post='1878152'] Another cab. Add another RS210 for £400 or whatever it is and you are away. [/quote] yes..this..you are asking/expecting waaaayy too much from a 210, IMO

I believe it was a Thump..which is an 18", IIRC... it didn't have a very tight thump for us and we didn't perserve. Maybe what REALLY doomed it was the silly carry and the indifferent experience. I was told that the EV ZX rig wouldn't be man enough as a full P.A..as opposed to a QSC K12 type rig, for example., but we are now not in that territory where we want to carry subs as our default rig. I also don't entirely subscribe to that opnion about the EV P.A anyway. The attraction of the ZA subs are their size..and as I say, a MB combo has done a decent enough job for a smallish gig. Not sure I need any help bass wise in the P.A in this situation as I can go to a backline to fit any need, really. I certainly wouldn't get left behind and if the gig was at that sort of volume, the QSC tops would be struggling way before I would Bigger gigs gets a hire P.A anyway.

Anyone have any opinions on these subs? We run QSC tops but I feel they are lacking a tad without some oomph behind them so definitely a downgrade from our previous P.A. This might force our hand to add a sub...which also defeats the object of going down this route in the first place but that is another story. We tried subs last week,,, and they weren't that good a spec ..on paper..but worked quite well and lent enough of a hand to add to the sound overall and this allowed the drummer the luxury of not playing up to the band level. His top kit sounds great and projects, but the kick can get buried which makes him play harder..and that forces the sound. We retain good seperation and are known for our sound, but not having drums chase the volume to retain a mix is going to be a good improvement, still So, we want a small sub solution, pref active and light and these fit this criteria. We may well just run the one as anything bigger, we can hire in, and this is just for those mid sized party gigs to a couple of hundred people, max. We have tried Mackie Subs and that wasn't inspiring, so it may not just be a question of any old sub will add depeth. Keys and gtr go through the tops anyway...so this is mainly for kick. I doubt the bass will need to go through, or if so..just a bleed. THis not a full mic'd solution. The other option is a Markbass 102 combo, which we have used before to decent effect.

[quote name='flyfisher' timestamp='1353761018' post='1878166'] A brilliant piece of engineering, but it'll never be a substitute for the emotional touch of a live musician. Anyway, the concept of machines playing music is hardly new - piano rolls have been around for over a century but I don't detect a dearth of keyboard players these days. A good choice of engineering project though. [/quote] Have to agree with this... very clever, bla bla but musically sh*te. I'd be seriously concerned if anyone thought that was anything more than an engineering project and had any place in music...

I am surprised that this is a surprise at a gig. Didn't you talk about the sound of the band before hand.. and what equipment you'll be running? You should have had a dress rehearsal with giggiung line-up kit-wise..?? If you have 2 stacks blasting away, then the sound should be noticably awful/way too loud... and everyone would notice it..??? You must have gotten feedback to that effect..?? Anyway, you are where you are, so you either tell them and hope they see your POV or you walk anyway. If they are putting their reasons above all else, then it will be a hopeless task Gigs like that aren't really an option so you aren't losing out in the long run..

[quote name='shizznit' timestamp='1353681924' post='1877379'] I just found out that a video of me sound checking at a studio session I did yesterday has been posted onto YouTube and Facebook. I had no idea I was being video recorded. It has already had 214 hits on YouTube since it was uploaded this morning. I wasn't really playing anything musical...just trying to lay down a good recording tone before hitting my track. So, lots of weird notes which to a novice would sound like crappy playing. In essence, it appears that I can't play more than two notes in a row. Exposure is very important for me so that I can get leads or referrals to other work to make my bread and butter as a full-time musician. Public displays like this does not do me any favours. Naturally, I have contacted the person who took the footage to remove it from YouTube and Facebook. I know they probably uploaded with the best intentions, but I am a bit embarrassed about it. Just wished he uploaded what I did 5mins later then I would have a problem! Am I being unreasonable or do you think I am we'll within my rights to ask the author to remove the video? [/quote] I think the least someone should dom is ask you whether they can publish. We have a few band vids that I wouldn't post myself, deemed not good enough, and it may be the ambience, like crowd or poor audio or whatever, but it takes a fair bit to establish a reputation and nothing at all to rubbish or downgrade it. So, yes, I feel it is rude, at very least, to publish without permission or acknowledgement... bad form, IMO.

thought it sounded BLOODY AWFUL... so, no fun, me..!!

[quote name='davehux' timestamp='1353684402' post='1877441'] I'm looking around for a new PA mixer amp and am quite taken with the Peavey XR8600D However, there seems to be almost identical units available under the Samson and Alto brands at significantly lower prices Anyone know if they're all made in the same place, and are they the same units apart from very minor cosmetic changes? Cheers [/quote] I 'believe' that PV, Belringer, LD, Mackie and the like all use common components made by a company called Fenix... or Pheonix. The reason I write this is because a friend of mine took in a non brand name piece of kit and the tech said the parts were easy to get as they were made by said company and he sees these PA's and mixers all the time.

[size=6][sup]Thing with SWR Goliaths of a certain vintage is..[/sup][/size] [size=6][sup]IMO..bollocking cabs for little money but they used PAS units which are a discontinued driver [/sup][/size] [size=6][sup]This discontinued driver issue certainly applies to many cabs and makes, so you need to know the drivers are good as they are nigh on impossible to find..and therefore you'll likely need to replace[/sup][/size] [size=6][sup]all the other drivers for a matched set.[/sup][/size]

Both mine work really well for me... I have a 1st call, but sometimes the stage brings out a very pleasant surprise and I use the other one.

[quote name='LawrenceH' timestamp='1353543443' post='1876002'] Since you want rackmount, you want headroom and you've got the cab to handle it then why not get a decent PA amp to handle the power side of things? I don't do it currently but if ever I need a 'big rig' sound then I've got a QSC PLX2402 sitting around that will kick the trousers out of any bass amp going. An amp that can handle real PA subwoofer duty without coming up short will give you incredible clean power. Then pick the pre of your choice. [/quote] Not class D then..

look at any chassis spec sheet .

I still think bands are democracies AND compromises but if you can keep talking, there is less chance to be 'misunderstood'. For instance..we have a member who has BIG time constraints and demands but we have always known this. We try and keep him onside and don't make him choose between the band and his family or work..which are his issues. We know he will be slow on new numbers as time is critical with all he has going on..but we really like his sound and playing, so we don't add to the 'hassle' in his life. We hope we are a nice release from all that and he continues to want to keep going. The situation is understood..and hopefully nursed along for the time being. If the music side wasn't working, that would be another story... but for some people..understandably, the band is not high on the list of PRIORITIES... sure, it is nice, and probably even better than 'nice', but you have to be reasonable about things and keep talking things through. That way you might see the road crash a bit earlier. All our guys have a pretty professional attitude to things,... what needs to be done, where we are going, what we want to do musically, what dates appeal etc etc .. Basically, we talk. and acknowledge other people's perspectives and responsibilities. We don't pick fights and make people choose..

[size=5][sub]I don't actually sunscribe to the notion there aren't certain characteristics from certain chassis...[/sub][/size] [size=5][sub]If you only get 3.5khz as your upper limit before a huige drop-off in response, you can kind of guess where the bias of that chassis will do its work..[/sub][/size]

Any reason for stipulating 2x12..? I don't actually think they are ideal for bass, IMO....but thats just me.

[quote name='Marvin' timestamp='1353534104' post='1875850'] It just gets so tiresome. They endless excuses as to why songs haven't been learnt, lateness for practices, not turning up for practice at all. A band is a commitment, if someone hasn't the time or respect for others don't bother. It seems that a lot of people like the idea of being in a band, when it comes down to the hard work and nitty gritty, then the problems start. I'll stop ranting now [/quote] I think you have all the anwers you need, right there.

[quote name='chris_b' timestamp='1353422072' post='1874773'] You're maxing out a 500 watt amp and you still can't hear yourself? I definitely wouldn't start playing the volume escalator game! If your guitarist can’t play at a sensible volume for the band then I’d pull him up, now. Why should his lack of intelligent musicianship cost you money? The first thing I’d get would be ear plugs. [/quote] Have to go along with this... getting into a fight with a 100w Marshall gets you nowhere but deaf... He may well be running it with too much bass and getting into your freqs and Marshalls are not known for EQ..they want to be driven., Any 100w gtr valve head needs to be run with a power soak unless on big stages...and are just too much for a lot of places. His problem should not be your problem..and he needs 'teaching'

That is a decent budget. Maybe the Ampeg pro 7.... altho I am not an Ampeg fan ..or Boogie..? Hiwatt..?? but would look silly on top of the cab..?? Orange Terror..?? but not a versatile type sound, IMV so more one trick than what you already have.

Depends how much volume you want or need. My beef with Ashdown is that the EQ is basic... which is ok if the rest of your signal chain works well, but even then..??? Markbass LM's sound great at low volumes but run out of guts too quickly for me...and I need the headroom with the way I play. GK are just too grainey in tone and struggle from the word go. Ampeg are ok if you want AMPEG .. I guess that leaves GB to delve into. If it was me..and the budget was 'keen'.. £4-500, I'd look at older SWR or Eden hybrids which have very good semi para 4 bands which are great for tone-shaping... should you need it. Don't much like the newer stuff, but that is more about then being churned out out East than the sound quality itself.