JTUK

[size=5][sub]I think the drivers in the DB112 are the same as the GS112 and you are right to say the cab design gives each cab the different attributes.[/sub][/size] [size=5][sub]I have a spare Ag model 12 and can't quite recall its model number... If doesn't matter though as this is specific to Aguilar anyway ( I guess ) and they aren't likely to make it common knowledge what driver it is based on.[/sub][/size] [size=5][sub]P.S driver for sale.. as new, unboxed [/sub][/size]

I think you need that sort of budget as a lot of cheap tat from the Far East means amps fail more often. I would go for WELL engineered European or U.S made kit rather than stuff packaged from China if you want to best chance of reliability. It is no absolute garuantee, of course, but if something did go wrong..a well engr'd piece of kit will be a lot easier to repair ..and probably cheaper. Finding hand-wired amps with a very good component spec is the hard part. From that view point..and not accounting for sound which is a whole new search string... I'd look at early SWR, and Eden before they went corporate. SWR, certainly, were not the same company after the buy-out, IMO, but the early SM spec was top notch. I have less experience of the internals of Eden, but suspect they might be on the same lines as they were MAJOR competitors at the time. Also, certainly Thundefunk which caries on the same ethos today, IMV. I would hope that EBS would be on the same page as well... If I was buying 'eastern' produced..I would want a dirt cheap price and be willing to write it off... or a VERY long warranty. Maybe a bit OTT ..but the sentiment is something I'd stand by. I am not saying no one esle can produce great amps but there is a reason they are cheaper..and that is because they are made cheaper and all that entails....IMHO..

[quote name='norvegicusbass' timestamp='1341314274' post='1716716'] I don't know what a note will sound like until I actually play it. Or more correctly I don't have a good understanding of intervals. I think this is holding me back from inventing my own bass lines as I can come up with quite decent lines in my head whilst listening to familiar songs ( different from the original of course ) but cant find those notes on my fretboard in real time as I try to play along. [b]Do the top players and jazz players in particular already have a strong idea of what note will ring out wherever they are on the fretboard?[/b] I think this is a tremendous advantage in improvisation. Will it be something that will come in time and loads of practice? [/quote] Most certainly as it is a pretty basic skill. You do need to be able to hear a two tone interval up or down the scale as much as you need to hear 4th and 5ths. Play songs as the interval of the scale rather than the key and you'll the be able to transpose easily..and once you get comfortable with this...you'll hear common intervals. You can do it by plain repetition but you aren't really delving into things much by doing this parrot fashion. If you understand positions on the fretboard as well as notes, you'll see common combinations and them begin to hear the 'change'. It is a basic busking tool and without dots or charts, this is how a band sounds very together when nobody knows anyone on stage or what the tune is. This is a variation of the Old Nashville numbers chart which concentrates on intervals rather than notes as it allowed very simple transposition in the studio and was very good for vocal harmonies.. [url="http://nvsongwriter.hubpages.com/hub/nashvillenumbers"]http://nvsongwriter....ashvillenumbers[/url] I don't say it replaces the need to know where the notes are all over the fretboard but it puts songs into a format where intervals are obvious.

Nice try.

Might be a predominately bass orientated cab and the problem with that thinking..... IMO... Is that then you can then sacrifice tone and character as you have dialled out the mids which can give it that. GS112 cab suffer the same...: great low end but you have to work hard not to lose its soul. Too much bass is tone less for my tastes

Went back to see the basses and the walnut type top is going for £319 which seems to be the going rate. Narrow jazz type neck but more chunky thru the profile which wouldn't be to my tastes anyway. But I can't see how they can make these for the money. Will be interesting to see how these hold up as metalwork must be cheap etc...

[quote name='Mikey-t1994' timestamp='1341421911' post='1718788'] thats what i thought, i know i paid nearly £2000 for her guitar cab and head so £50 is almost disposable, if the band doesn't take off or it isn't suited hardly lost money is it! what would you guys recommend for this kind of thing though, she will be playing my ibanez, and will always be real dirty low end clubs with idiots on the board. oh and there a modern punk band. not bothered about new or second hand, just want to work our way up, cheap to expensive as we explore our needs, if i get this £50 set what should we progress to next,. say with a £200 - £300 budget [/quote] As long as it works well enough. You should plug it in and turn it up quite loud. For your next stage of amplification, think £300 plus for amp and cab

[quote name='ezbass' timestamp='1341423420' post='1718810'] £329 seems to be the going rate on line. [/quote] Can't tell you what prices I saw but this doesn't make much sense.

Played one the other day...... Can't believe some of the prices quoted here as I saw the trade price so would think £450 is a retail starter. Ok for that price and the construction looked solid.

[quote name='BigRedX' timestamp='1341317420' post='1716834'] While fitting a heavier B might give you a string that feels better, it won't always give you a string that sounds good. IMO getting a good sound out of the B string is all down to neck construction and the neck/body joint if there is one. Unfortunately this generally costs more money. I've found that people who are unhappy with the B-string have generally bought something at the cheaper end of the 5-string market in order to find out whether or not the extra string is going to be right for them. The cheap(er) construction generally leads to a poorer feeling and sounding B-string which then tends to put them off. [/quote] Nutshell...... I would go further and say there are more 5's around with an unconvincing B than not...... Certainly when I have been looking. It is ALL in the construction. I use 118 at times and the B is great, IMO, and works up the neck as well......

Strange that you would have bass in monitors but no drums in P.A???

You need to like Berg as they tend to be clean.... as do most quality 410's... And have a reputation for being unforgiving on less than spot on playing.. Which is why, IMO, 12's are liked, for example...... lol.... But if you can get on with them, then no brainer, IMO.

[quote name='Marvin' timestamp='1341263442' post='1716170'] Unfortunately the impractical nature of not enough time or money to try numerous combinations means people will seek advice from other people's experience on forums. If that weren't the case this place just simply wouldn't exist. The threads regarding the technical aspects of amps and cabs always get so heated. It need not be. [/quote] Sure..... You can generally tell who knows what .... Recycled guff or hand-ons knowledge, experience or thinking. You don't all need to agree on things but whilst the I net is great for spreading knowledge it is also great for perpetuating crap. And forums can also excel at this with cliques and clubs as well being genuinely a very uselful resource. IMO

Does not compute... At least two separate rigs but they are marked rig 1and rig 2

I have serious doubts a 2x12 can get close to a good 410 so if the Berg NV is any good at all... And I use Berg cabs so know they are all round quality.... I think people are dreaming to compare the two. If you don' t have weight and carry in the equation then I can' t see why you would even ask the question.

[quote name='Truckstop' timestamp='1341228933' post='1715344'] We're looking at £1,500 minimum for a 5-piece. Reason being I and another band member work in the pub business and we'd need at least £250 each to make it worth travelling out. Otherwise I could just work in the pub and earn £200 anyway and be able to drink with all my buddies. Truckstop [/quote] This.. not that I work in the pub trade, but it is sobering to get this equation.

[quote name='chris_b' timestamp='1341226173' post='1715288'] I spent the first 2 years on BC being told that mixing speakers sizes definitely never worked, when I was getting a great sound out of a mixed size rig! .................... [/quote] I think this is because people can read too much on forums and don't have their own opinions on things or have never tried it so need someone else to either endorse one or establish one for them. Some people spend too much time reading and not enough time actually doing much musically... or are just plain oblivious

[size=5][sub]Perfect.. such a looker.[/sub][/size] [size=5][sub]We want to see many live shots of this beauty getting a workout.[/sub][/size] [size=5][sub]I suspect you will have that vintage vibe thing really going on now. [/sub][/size]

Way more important things in the signal chain than the amp in this case, IMO.

I did mention cleaning up the technique though and any ringing strings is poor technique..not so much that they ring in the first place but that they aren't damped down straight away.

My point being that despite all, markbass is decent quality

I am not a fan of markbass for me... And I think a lot of guys use it as it is lighter, first and foremost, as their sound isn't convincing, IMO, but the best combos ... To my ears.. Have been markbass amps and someone else's cabs. Epi works if you can get past the pillow soft epi sound and I would agree gs112's sound like they would really compliment each other, IMO

Really...??? Seen too many ....and heard them, unfortunately, single 15's around here that really really don't work.... But hey, that is ok as it is a single carry.. But if the guys could hear the sound they were making then they would surely be ashamed but then if they really don't know, then they really don't know. Oh well. I am sure some guys can make any cab sound bad.. And some can make the most of most cabs, but a lot of people seem to stop at the fact that certain cabs produces oddles of bass and that is as far as they get. Now, if you want a recipe for mud and mush just go mad on the bass frequency and if you have an inherently bassey cab then you aren't far off getting into all sorts of trouble. ALL SORTS. Imo

Why would I need to do that? My technique is clean and precise and I don't have any muting problems. I have put my time in and can mute lh or rh .. My point is the op needs to do the same. I am not convinced floating thumb is useful or any better than any other method but if you have ringing strings you really have to clean up your playing. I favour lh mute over plucking mute but the end goal is to best fast fluid and more importantly, precise. For those that can't do this, you are going to have to put the hard yards in. No quick fix.

[quote name='dakanoosh' timestamp='1341092565' post='1713864'] muting is so important, record yourself playing without trying to mute in anyway and listen to it back... what you will hear is all your stings ringing behind what your playing, now imagine if you where recording a song in the key of C# Major for example... your basically then playing a huge clashing chord behind every note you play... never overlook the importance of muting, perfecting it will make you a much better sounding bass player. [/quote]