JTUK

hmmm.. price and value are not necessarily the same. You would need to hear and see one, Gareth. If you are looking at these, have you looked at the EBS classic line 112...?

hmmm I get some nice responses over and above the rest of the band when 'introduced' so I figure that people recognise what I am doing... This happens often enough for me not be getting the sympathy vote on one or two gigs.. Not many people come up to me after the gig though..but then when I talk to someone who has seen us before, socially, they always say nice things. I don't understand why they leave it until another time but at least I am not caught off guard at the gig. After all is said and done..be thankful that you get them at any point, rather than not at all. :lol;

The RH750 with its own cabs is worth a listen, IMO. And older U.S made SWR isn't that wild a choice but loses out to Markbass for the portability. I wouldn't make that swap myself and old SM amps are as cheap as chips... NOTE, SM series..!! They pretty well established the 4 band para and enhance type facility, the latter is standard on a lot of amps now..plus the 4 band is great for notching out horrible frequencies in bad rooms. The SM is capable of great sounds but you need to get to know it..the Thunderfunk is modelled on it, IMV..and has a few updates on the theme and the sound is straight out of the box. They say the difference between the SWR SM and the TF is that the TF is way easier to set up ..whereas the SWR will get there but you might spend time tweaking. The TF is just plug in and play, IMO. You'll pay a round £600 Sh for a TF..if you can find one, but they are a class above.

[quote name='moonbass' timestamp='1339446160' post='1688721'] Played through an Ampeg SVT 4 in the studio yesterday, and ended up changing back to my own rig because the DI out, although a great tone, had a horrible hum on it. I've had this before on several amps and it was solved with a ground lift switch, but the SVT doesn't have one. Just wondered if this is a problem with all Ampegs or if it's just this one? [/quote] A decent DI box would have gotten round the earth lift issue. I'd be wondering what sort of strudio doesn't have them...or P.A co, for that matter. But why Ampeg doesn't have them,...hmmm, don't know. I have 2 DI's outs on my amp and both have earth lifts..!!

You both want your cake and to eat it. You want control over the gigs you do... and that is reasonable enough, but they want someone reliable from their POV. How they think a dep is going to be that...unless they have tapped him, I am not sure. could be out of the frying pan, into the fire in that regard, but you would know his work pattern betther than us. Deps don't steal gigs and neither do mates, so I don't know what might be going on there.... The band want to be able to do the gigs they want to... and get in players they want to, so it does seem that the power of the band has shifted and may have, even more so, if a relative has been brought in. That last point would have been a warning sign...when people make replacement decisions off their own bat, that is NOT a band. Regarding deps...?? if you can't make certain gigs, then sooner or later , they are going to clash BIG time and they may be trying to avoid that situation, understandably. I would interpret all this as time for a meeting face to face and to discuss or reaffirm acceptable boundries.. ... 6 or one, half a dozen of the other the way I see it..on the bassis of what is written here. I would also have a chat with your 'mate'... I am not sure how far they can go down their route without your 'mate' being onboard...??

[quote name='MoJoKe' timestamp='1339435828' post='1688452'] Crikey, nobody told me that! Glad I've got the HR104 as well then... [/quote]

[quote name='Conan' timestamp='1339411890' post='1687964'] I have a set of Newtone Diamonds on my Geddy Jazz. Great when new, but nowhere near the life span of the DRs for me. [/quote] That is strange... I go through strings quickly but have had a set of Newtones on since before Xmas..which is unheard of for me. I have looked after them and protected them but even so..a month is around the best I can do for strings normally...and the brightness of strings is critical for me.

[quote name='markstuk' timestamp='1339426176' post='1688246'] And 18" drivers ? [/quote] nope...as one dimensional as 15's and an antiquated choice.

yes..you can run 1 or 2 8ohm cabs on that amp... or 1 4 ohm cab. If you use just the 1 8 ohm cab..you will limit the max output of the amp to between half and 2/3 of its limit, ballpark.

Markbass and Epi 12's were recommended to me but the sound is too soft for me out front. I put that down to the cabs. Berg NEO tend to be firm sounding...IMO, which is good upto a point but you had better like being exposed to the hard sound ...they will clean/expose anything slightly off. The VP controls might deal with this...and the band will like their stage sound. Quite smooth getting up through the range. Aguilar DB210's,,very balanced and smoother for me than the Berg's... decent horn but gets harsh anywhere near half.. but the cabs are good enough to be strong up there without going mad with the horn..which you can't anyway. Most horns are a nightmare turned up lots..!! Give me ceramics anyday..that is my pet theme of late..!!

Used to use DR strings..and mostly Hi Beams, exclusively for nigh on 20 years. The low rider has a T-core, IIRC.. and DR used to be about quality and the premium was worth it then. I don't feel that now. From all that time using them, I would say they were about the best around, IMO..and I've tried loads to replace them of late and they are still up there fresh out of the pack - subject to my QC theory- but I don't use them now and am giving away all my old sets. I would put Super steps on a par with DR's now..Ken Smith also and XL pro's just below. Those sets are also about £10 per cheaper per 5st set. I use Newtone customs now and I feel they are the string that DR use to be, IMO.

Maybe too groovy but Get Ready by Rockford, Dr, my eyes, Jackson Brown, Cruel ( Live cut ) and Georgie Porgie, Toto, and maybe Luther Vandross, Love the one you're with are on the list for my next project.

Love the retro look of the SL's..they have grown on me and I am sure the weight is a bonus but I use full size heads and I like them to sit properly on the cabs. Still thinking about a Berg for SL trade maybe..??? .... I use SM400 and TF amps..and neither is over 20lbs max... I run DB and Berg cabs and the TF suits the DB's so much better to my ears..and the Bergs are by no means bad as the band tell me they love them. I just think I get a more smoother coverage of range out of the DB''s..The low B is RIGHT there and the flashy frills up the neck come through with little or no work EQ wise throughout the gig and I've only touched the volume and gain 90% of the time. The basses I use a J5's with East pre's but are words apart soundwise. One has Marcus M sound and the other is more vintage and woody.. and I'll sound check both to decide which one to use. Couldn't be simpler and I've never had a better sound to my ears.

[quote name='Gwilym' timestamp='1339329341' post='1686840'] The class D heads I've tried all sound great, but I can't help feeling that they are missing something. I don't think it's power related or volume related. Just a certain "grunt" that I used to get from my old SWR Basic 350. Hopefully the TF will have it. [/quote] I came from a the classic SWR SM400 which was a Benchmark amp of its day...and there is a degree in lineage here anyway.. and the TF incorporates all the good features and has refined them, IMO. The main difference is how the TF stays online with its sound further up the volume level, IME..over the SWR..but that could be down to the valve pre..??? but anyway, it amps up far better, and I note this is what majorly sets the TF apart, from the Markbass amps I've tried..very nice at lower levels but the sound doesn't stay as tight or focused when pushing them as I have to. The TF retains the semi 4 para EQ as well..which is very useful for notching really bad rooms..but altho I have the feature, I have never had to use it. The EQ stage is so smooth and balanced you never have any boom whatsoever. The only thing the SWR does better is grind the pre stage...but that is not a sound I cherish anyway. The tube simulation is ok and subtle... but this amp is for clean. IMO.

I am quite convinced that the power stage of the TF is key... and that this is what class D types suffer..which is why I haven't gotten rid of my heavier amps and can't bare to. I don't consider 20lbs or so as heavy anyway. If you get a bad sound with a TF amp..then you are doing something majorly wrong. Mine always surprises me with the lack of problems I get in a variety of situations and it is the only amp where people comment on a great sound. Funny how they mention that days later though...and always bass players...!!! The combination of TF and DB cabs is something else though so I have this unquantifiable suspsicion that there IS something in the weight aspect. Had this conversation with a keyboard player who said the same thing about heavier cabs..and just as there is something mystical about valve power stages and the tone...this is continued with transforners and output stages and cabs as well. Of course, you have other considerations when hauling gear around but it depends on where you set the line on your own compromises. Anyway..TF ..?? great amps...!! and no tech is going to mind working on one. IMO.

Sometimes a room will show up a certain sound bias..and surprise me. So I can adapt how I play to compliment that sound. If the room or sound is soft, I might go with that..but if it is hard..it will make me play a hard style. I have three basic styles and sounds and I go between all three with a maximum of one tonal change..be that a pickup switch or a roll of a control on the bass. I will put in everything or nothing in any or none of the songs..depending on how I feel. I am always reacting to what is going on around me.. and the gigs require a bit of playing, so if the other guys come up with a part that I can jump on.. that can take that track to another really good place, I'm there. If it isn't working..and you'll spot this straight away... you sit and get back to the default play. of that track. It is only a covers bands and you need to try a few things so as not to get bored. You have to know when you are heading for a mess though..

Have to say the last one is not the video you'd want to post. It has no pop or groove...... take 2...and counting................

I think Aguilar are making some very good cabs and I love my DB's.. Was tempted to try the SL's but not sure on the NEO thing as yet...and I have NEO 12's atm anyway. Ampwise.. try and find a Thunderfunk for a soul gig..but it will do clean rock. I don't have much use for the tube simulation but it is there for a touch of breakup. But the real clincher is the 4 band para set-up which makes set-up so easy, IME.. but also the Enhance and timbre are so good I hardly touch the semi P..but it is agood thing to have for those 'bastard' rooms People say the AG500 is close to the TF..and if so..then that will make that a VERY good amp, IMO. They also say old SWR users now go to Markbass, but they don't if they get hold of a Thunderfunk..IMO. The Markbass amps that I have time on,..which is the LM series are good but the TF is step up and a bit more and you;ll be hard pushed to find one for £500 plus.. but if you do..well worth checking out..but saying that..I am a bit confused what you want and what you are aiming at.. Funk soul gig..?? a bit of slap..?? but 15's and/or no tweeters..????????????

[quote name='Musicman20' timestamp='1339241769' post='1685749'] Personally I don't like the pressure you can get in stores to rush through trying it. When it's an instrument over £500, especially ones hitting the £1500+ region, it takes time to make sure it's right. What happens if you travel and you dislike it? You've lost the petrol and the time. If its fairly local, no issue, but for example, if I went to the Bass Gallery, it's a very expensive journey. Just thinking out loud [/quote] agree..it is lost money...but still a necessity for me.

[quote name='flyfisher' timestamp='1339240755' post='1685729'] But the point about DSR is that online sales are not blind sales. You get the chance to try the item in your own home and if - [u]for [b]any[/b] reason[/u] - you don't like it then you can send it back for a full refund. Surely it's better to play a new bass, with your own amps/cabs, for a few days than travelling miles to a shop and only getting to play with a new bass for a couple of hours? [/quote] yes, you do..but that is assuming the kit qualifies in the first place which I am not sure you can even get to a buying position from many pics. I can go through a whole rack and pretty much at a glance would discount most.... that is just the way it is for me.

Depending on your defintion of loud and what sort of tonal range you want but I think you'll end up with 2x112. Whether you can get both in the car is a problem for most but I think fitting 2x112 is easier than a 212 or larger cab. I think you will struggle to get 2x112 for £400...athlo I sold a pr the other month for that..but I did give them away and have seen them back here already... There were a pr of Hartke 112's x 2 in the FS section the other day for around that money. Looked neat and compact..but I don't know their sound.

[quote name='chris_b' timestamp='1339229433' post='1685506'] It's in Bb. The verse is D/G/ | Eb/Bb/ | [/quote] and that is all you need to know... then all you need to do is get your head round the general style and run with it. Try singing along with the bass line to get the general groove and then play what you can sing/hum Making it sit and making it work and move will help you far more than ripping every little nuance and note. Play it with your own personality... and if that is any good, you'l leap-frog all the imitators.

I like what I like..and am way too picky so have to see the thing and like it so this makes blind sales a bad idea. There aren't many things I'd take for granted with a few pics. I might like the way something looks but if it sounds or plays wrong then nothing is going to save that. By the same token if it looks awful, I can't even get interested in the first place. So it is the all round experience for me and that means that I have to do quite a lot of groundwork. Travelling £30 to gtet what you wnat isn't aproblem, if I want it enough... but I would still reserve the right..in my mind..to say it wasn't what I thought it was.. The only blind sale I've done these last few years was for a Sei bass... which has turned out to be my favourite bass... so that was lucky..but then again, I know the quality of the work MP does and the price was very realistic so the punt..if you can call it that..was pretty risk free. I don't think a day and 300 miles to find what you really want is wrong but you need to do all you can do to make sure it isn't wasted.

There is inherrent sound and a lot of that is to do with how you play. Getting into a fight with EQ is a fight you will loose, IMO... and the best way to approach that is to enhance what you do rather than chase. If you start with basses... then they can lead you to a sound, but you have to complete it...either from a style of technique point of view. Trying to get a MM to sound like a classic jazz is doomed, for starters, and vice versa. If you want a hard bitty sound, you need to attack hard fingerstyle at the rear pickup...but that might not work for slap..unless you can change a sound nuance quickly. Pedal boards might help..as will pre amps..but you have to have the sound pretty much there all in your hands and style.

Back to the SWR Goliath..very clean close up, but massive out front. Chalk and cheese there, it seems. I never realised how good it was until I heard it out front and on tape.