JTUK

I just set the bass up so it has a sound I want and can play and the I get the amp and cab to compliment. I then tweak onstage to cut thru ..... I don't ever start from a position of this will do .... It has to be very easy to play first and foremost and some mids are very harsh on people's technique. You can ramp mids a notch but not any further.

Before you write this off you should at least test all the parts individually to see what is broken and what isn't and then you'll know more about to present the sale

Basically what you will get here is that people that continue to use them will shout pretty loud and people that don't might not want to get involved in a potential slanging match. I suggest you forget all that and take advantage of the 30 day free trial and then you will know if they can do what suits you.

Sei J5 or if you wanted keep the price down, a proper Overwater J5. If SH, I've seen Sei's for £1200 USB which is silly money for such quality. One of the very few 5ers I'd buy on spec and unheard, which is almost a golden rule for me...

The thing is you don't want the bass to go everywhere on a controlled stage as it is a bugger to get rid off if it bleeds into other signals. That is a stage monitoring PITA.

Lol. Post of the thread...!!! Some posts here speaks volumes tho...... Very illuminating, and no, I am not talking about the 'science'. Lol lol lol

[quote name='Lozz196' timestamp='1343888951' post='1756765'] For me, there are three main factors in when I buy a speaker cab: 1. Do I like the sound? 2. Can I lift it? 3. Does it fit in the load-space in my car? May be a simplistic view, but these are the most important factors for my usage. [/quote]

[size=6][sub]Some 15's certainly are as any pub band will likely show you... [/sub][/size] [size=6][sub]Also, some 15's are designed and sold as being room fillers which is a small gig mentality as you wont want to use that with a FOH P.A.[/sub][/size] [size=6][sub]The reason Ampeg fridges are popular on stage are twofold, IMV...1st, they are now iconic, and 2nd, they got that status because they did a job time and time again[/sub][/size] [size=6][sub]and so became pretty much the reference point for stage rigs.[/sub][/size] [size=6][sub]If you are playing stages... which might be the size of some pubs gig rooms.. you may or may not have a monitor mixer, but the last thig you want is a huge bass presense on that stage... that is what wedges and side fills are for ( if you need more sound and control ) ..so then it literaly become a bass monitor and Ampegs are good at putting out enough sound but not at boomy levels...[/sub][/size] [size=6][sub]so you hear it but don't flood bleed everywhere else..[/sub][/size] [size=6][sub]The sound engr likes this...[/sub][/size] [size=6][sub]So... yes..nothing wrong with 410's... they produce the levels but shouldn't get too bass heavy[/sub][/size] [size=6][sub]Like everything else...there are 410's and 410's tho...[/sub][/size]

Difficult..but I think you are either set-up or you aren't and lashing together sets to make up time is a risky business. Keep the standard up and the times down.... I think 3 hr type gigs are fine if they just happen...but painful if instilled on an audience.. The last thing you should be doing is time-filling.for the sake of it.. IMO.

ha ha ...not very.. looks a total bodge.

Find a retired tech... most amps faults we've had have been £35 and simple fixes... for him..!! A write-off for the likes of me..

The point about the bass being too loud on stage ... You really do not need or want a rig that floods the stage with bass... so in that respect the cab is often totally unsuitable as it is harder to conrol by FOH. You would be better off with a tight focused sound and if you need more bass, get some in the monitors. If the monitors aren't or can't be used for bass, then you will need a rig that cuts but does not flood the stage. So the size of the rig becomes important as a small-ish stage in a small room might means a rig would flood not only the stage but fill the room and the FOH engr might take you out of the mix which means he has lost control... This is why Engrs like low bass volume on stage as they can sort it out better out front... but that might be at the expense of the bass sound for the bass player. Most guys I've worked with ignore my bass volume and figure they can bleed over the top as they have a more powerful rig for the room... but too much bass on stage will complicate this and make his job harder. I make my sound is THERE...but not massively so, My bass rig will pump out most or, in some case, all, of the stage sound, but not get in the way of FOH... The last thing you want in a bass rig that you can't control re the amount of low-end you put out. Some cabs are just too plain bassey.... and therefore not a stage rig.. They might do ok in a decent size room, but that sort of bias may not be very adapatable. IMO..!!

[quote name='discreet' timestamp='1343722237' post='1754018'] I'm still wondering if the 'potential buyer' has in fact tried a Barefaced cab? [/quote] But why would he...? The whole package doesn't seem to appeal...

Yep..but not this 'potential' buyer, it seems...

[quote name='gjones' timestamp='1343664403' post='1753349'] What does the amp sound like when it's just you and the drummer? If the sound you want is there but disappears once the guitarists appear in the mix then you have to have a word with them. If it's not there at stage volume then you need to get a new amp. I had the same with a tc electronics classic 450 which just couldn't give me the low mid frequencies I wanted. I switched to an Ashdown ABM and I got the sound I was after (I now use an Ashdown MIBass which is just as good). [/quote] Start along these lines... If the amp/cab config can produce the sound at some point on its own, then you have a problem with your band mix... If it can't THEN you can get involved in swapping out your kit... and if you get to that point, I'd borrow stuff to point you in the right direction. I really don't see the point of the bass player dancing through hoops to accomodate the band sound...as you end up with a sound that kind of works but depresses you.. whilst everyone else just carries on and loads you with the problem...which ultimately means that your band sound might be crap but they are all-right-jack. And then you ask yourself..why am I playing with these people..?

It would be more important soundwise V lookwise AFAIAC, but you still have to build something that works on all levels, IMO.. If the 'potential' buyer doesn't think that then you haven't gotten past first base. Of all the things you can fail on... actual 'build' and all that entails must be the easiest to get past....many DIY efforts here achieve a nice looking cab.

[quote name='Pbassred' timestamp='1343552150' post='1751885'] I'm (still) close to going shopping for a new amp. At the moment I'm still surfing. I was worried about whether to go for all 12" or all 10" or mix 10" and 15". Before I even get to brands I've noticed that none of the cabs seam to use crossover networks. Surely you would want to use the 10" for Highs only and 15" for lows only Otherwise it would sound bad or be inefficient. [/quote] I used 115 and a 210 to great effect, IMO..but got rid of the 15 as it was a heavy old beast ..I now run 2x210 which sounds even better. I would tend to keep to the same manufactureres though as they should be designed to compliment each other... I am not saying mixing makers doesn't work but it is more of a lucky guess or solution...IMO. When running bass through speakers, I think it is more important to have more than enough to cope with the stress rather than the size. Bass can be brutal on speakers and I tend to stick with this rule... 1 and half times amp power for your cab config... so a 400 watt amp will need 600watts of cab capability... this may be a historical trait on my part but I stick with it as when things are loud, you need to be confident your aren't breaking something..and there is something wonderous about a great cab going off at around 3-400watts with room to spare..

[size=6][sub]Headlined a beer and music festival at the weekend with a very good line-up and it was very well organised. The camp site was sold out by sat lunch-time, pretty much[/sub] [sub]Huge marquee which was rammed...plus the weather enabled the rest to stay outside. The beer was pretty much sold out on the saturday night and we played a storming set after one or two P.A issues...[/sub] [sub]They booked us there and then to do the same next year.. all good, and one of the most memorable gigs I've been involved in for ages..!![/sub][/size]

We sorted all this ages ago.. All the core sounds are there... drums are very clean and tuned so our soundchecks are basically only about levels. If we run our own Vox P.A which will take gr and keys bleeds we are up and running in minutes and we are known for a good sound, I'd say we have more problems with engrs who think the know what they are doing but might take 3 songs to react to a FOH problem which is their total remit.. I'd say our own mixed sound is better that most of the P.A's we have used of late which is a pretty ridiculous state of affairs.. and obviously I can't hear what is out front in a small venue of our self-mix but I strongly suspect this is the case. I basically think some of the engrs we have used have cloth ears as we tend to use them with other bands and their sound doesn't knock me out, tbh.. P.A's we have used in the last few months have been ABBS, RCF, Hill and HK. along with our Martins.

This would apply more with a formal tune..... But the drums have it, I'll go with them.... If I've got it he will have to change to me but we don't want to chopping and changing to find ' it '

Having heard and demo'd the RH750 with the TC cabs, I'd get their RS210x2.

As it happens... Thunderfunk aren't class D which is one of the best things about them..and there are many, IMO. They weight in at around 20lbs.

[quote name='stingrayPete1977' timestamp='1343332272' post='1749202'] Im not really on about the people who watch the same youtube clip a 1000 times to nail every little nuance just the general what you had on your walkman (gramaphone, Discman, iPod, minidisc, 8 track etc) most of the time, I have turned out nothing like any of them, Newstead, Novoselic, Duff etc were all my heros yet Im not sure I can hear any of them in there? [/quote] Ok..in my formative years, I had Popwell, Marcus Miller, LJ on my deck, to name just a few...plus all the NY and LA heavyweight session guys at that time...and also a nod here and there to the likes of Jaco, Berlin or I was certainly aware of their output altho I owned very few, if any, albums with those types on them I didn't have a favourite altho gravitated towards Anthony J later on... His work on Clouds stands out. If you heard fast fingerstyle.... most people would go straight to Jaco or Rocco...but then you'd be mising Randy Bramwell and Jerome Rimson. At this point, you'd also learn that you could nick a general style and as long as you didn't go after the sound as well... you'd get away with it..

Well, Graham has his own style and I wouldn't call it a traditional style by todays standard, so LJ could argue his efforts were more more a basis for what people do these days... LG plays more with a thumb stroke rather than a thumb slap, IMO...but then Stanley Clarke was doing his party piece slap in 74', IIRC... then there was Popwell, all who put down stuff well before LJ. Funnily enough LJ is very dated these days, IMO, whereas LG's has more longevity..and LG is just such a funky guy anyway that LJ is all huff and puff by comparison. I say this as someone who listened to LJ's output via Quincy Jones in the early 80's a lot and there was a time that LJ was THE guy.

I guess it depends on what you want to do..if you want a gig, you can find it easily enough, surely.... but if you let someone else put the unit together you have to adhere to their element of control..in the sense that they will likely have picked the players. That is something I am less inclined to do these days.