JTUK

I doubt your amp pushes out below 4ohm..so you can't use both at that impedance, if that is the case. I don't know the head at all.... but 2 speakers will be far better than one so just the upgrade on cab alone should see a good improvement..plus you are driving the 4 ohm cab and the amp will go louder at that impedance than at 8ohms. If you like the 212, then you'll have the 112 to sell to offset the buy-in

300watts into SWR G 8 ohm should be fine

[sub]You have a lot of control with a sweep like that...depending on the plus or minus db level. 15db..which isn't unheard of, is a lot of control.[/sub] [sub]I favour a 4 band semi parametric on amps at times..as this has so much scope through the amps frequency range but I find it MOST useful to notch out an annoying frequency like a bass boom, mostly[/sub] [sub]Amps like SWR SM series, Eden and Thunderfunk to name just a few, use them. Great amps, IMO[/sub] [sub]It is shame you have problem or two as the[/sub][sub]se sound like a great little range[/sub]

[quote name='Linus27' timestamp='1326915482' post='1503777'] Yes they are all working fine although am I right in thinking that the frequency dial only works in conjunction with the Mid dial. Turning the frequency dial on its own makes no difference to the tone. [/quote] The way mid sweeps work is that you set a frequency and then dial in the boost of cut and at that point you will hear a change in tone. You either have a stacked control ( as per a retro ) or two seperate controls The frequency knob does nothing but set the freq to be affected.

Been waiting for ages for 2 DB112's to pop up here but there may be a reason why people keep them. I used one briefly a few months ago so I have an idea how they might work for me. Not my bass or amp though, but even then, I am confident about them. Same chassis as the GS and I have a spare one of those..which makes sense to keep that all in the family..as it were. Upto 45lbs per cab doesn't concern me if the handle is good.

If it just been the pickup, I would have kept it...as all the others thing were so right for you, but yes, the screw bodge is the deal-breaker..shame..!!

Sounds like good fun.... enjoy..!!

yes...good one.

[quote name='chris_b' timestamp='1326889512' post='1503215'] [size=4][color=#222222][font=Arial]Spoken like a true musician.[/font][/color][/size] [size=4][color=#222222][font=Arial]Do the punters really care about "little extras"? Unfortunately they don't! It only has to be a song they know and one they like. Preferably played well, but judging by some of the bands I've seen even ability doesn't seem to matter that much to an audience. [/font][/color][/size] [size=4][color=#222222][font=Arial]I keep the covers band simple, effective and mainly as per the record. And no, we don't rehearse. I save the cleaver stuff and my creativity for the other bands where it's needed and appreciated.[/font][/color][/size] [/quote] True... I make the effort to make it interesting for the band and make it a different gig from the others that we all do... It may be disheartening and/or frustrating, but it would kill it for me, it we just reverted to standard fare. Even our pick-up blues bands can really get hold of a song and do something with it..IMO..and some pubs/audiences really appreciate that...but others,...jeez..!! Some pub and punters are very open and have a very wide musical taste..and others want the same set every night from the same set of bands. It is a difficult thing to get right....and again..it all comes down to getting yourselves about and wearing the buggers down..ha ha !!

[quote name='BottomE' timestamp='1326884139' post='1503113'] Exactly. I think this is the worry. As we are trying to be efficient there isn't much time for creativity and the songs are pretty much copies of the original. It'd be nice for punters and us if the songs had a little extra to them. [/quote] Agree entirely, but then who is going to do that for £50 a man in pubs...? especially as the better players tend to be busy so therefore get that just for turning up..and then you have to juggle the dates ect ect as they may have beter payers elsewhere. I've spent 2 years on this and now we are arriving at a crossraods.. money is THE issue and the guys can get what we pay them anywhere in pubs dates. We play as a 5..withkeys, the gtr can get £70 starters in a duo.. We might do well at ticketed gigs and get £140 per man... but you can't do that every week. We have to 'stimulate' the guys with a few choices prestigeous type gigs and then they also see the need to tick over in a pub just to hine the set etc ect... but we are comingto a point where it is at odds with itself. We need to not play at pubs too often to make spending £8:00 a ticket a seller but we need the pubs to enhance our fan bass. I've proposed 3 ways of doing this 1) pub set which will be for our amusement..less interest in this from a band POV. 2) Function set..to satisfy that demand ..Interest in the money but set/music can be soul-destroying 3) original and concert set. Appealing but you have to work into this. and venues and economics aren't always helpful especially as you want function type money As this is my main band, I want us to cherry-pick the pubs and also get the money we want. I also want to develop/pursue the type of set and song that the band is good at which takes time in rehearsal plus a concensus on the material and style.. For the time that takes, we might just as well do originals. Plus...and this is quite galling.. for all our effort, we might take months for that to come to fruition at a new venue..when a week later you go there and see the crowd an awful bog standard fare band has pulled...

How hard can it be to set up a string winding workshop? The kit would be the easy part. Expertise and dilligence are more the key, IMV. I do certainly believe that the quality of the metals has been a contributory problem in duff strings to me...IME..recently. That is why I now use Newtone..little U.K workshop knocking them out to-order if you want something different or a few off the shelf ranges. Very impressed with the overall package in terms of feel, sound and they are lasting. I put a set on one bass that gets used quite a bit, before xmas..and I am not someone who prefers a dull sound at all. It is all about attack for me and this is critical in the higher frequencies which is where brighter strings score, IMO. Also, I like these little operations where they know every little process of their work as they are the ones doing it. There may well be a handful of huge string winders doing everyone elses winds, and just repackaging them but it only takes a few duff sets...pr strings, which I've had to stop me going to the same brand. I was a exclusive DR user for around 17 years and they were the best string for me...up until I sarted getiing a duff string here and there and other little things that seemed to have changed. I know straight away whether I like a string..just as I know straight away if the bass I've just picked up with fit me. If these little things matters and you focus on them, you know ...if they don't, you wont.

The last thing I want to see is the same bands on the circuit do the same songs the same way, ie, stick as close to the record as they can get. I don't want to see the original artist do that..let alone a copy band. All you are then getting is varying degrees of proficiency and then I'm bored pretty quick...yawn..!!

For a start I put together a group of guys that I thought might work..we jammed a get together and found we would bend classic tunes and it immediately became us. This became the core of what we do in terms of approach. everyone works from the chords and maye a feel that we like in rehearsal. I distinctly wanted us to puruse this as a) it sounded and felt good and we knew it would be different. Competance is a given, IMHO, so it just becomes a question of whether certain songs are 'our' type and fit. I find this can only work if you develop the song within your remit...it will not work if you have minimum time on it..and if you slavishly follow a part. I certainly wanted to avoid the function type approach where you may jam the song on a gig as therefore have to keep it simple and samey. We let other bands do clone rip-offs..and it is to my dismay that we haven't been able to continue our approach lately as we have done more functions and time is short. Certain songs fit what we are trying to do and others don't...it is becoming a battle to keep it on track but as the band is capable enough we want the song to breathe and be our own take.. The downside is how far different audiences will allow us to be...and/or it takes some time to get us..??? We find we fit far better on a bigger stage type gig or festivals rather than pubs but you need to do the latter to get known for the former... When we do pubs we join the motely crew, when we do a stage and ticket gig, we step up a bit.,,and this fits the band far better..plus is more interesting and better paid. There are less gigs though... and round and round we go..!! Some of our versions aren't a million miles away at all... but we need to 'play' the song and get across what we do well, on it. Anything other than a cribbed part is a good start, IMO, for this band but the player will have to have/get that spark and bring it along, and then we have to make it work thereafter What we can find is this though..it takes a lot of time for this to get around..and that is just hard yard legwork. What can get depressing is the money is dependant on the audience turnout..even in pubs as you can't go in with the better prices and not be a draw in some places.,,of course, but then we have some real crap bands do well...somehow and amazingly as they have just worn people down over 10 years. I can't interpret that any other way...truely awful and shouldn't charge, almost....!! We are more a players band, imo... and I am certain we are on the right path... but keeping it and the songs on track takes more effort and time.

[quote name='Truckstop' timestamp='1326809583' post='1502191'] While we're here, and I know it's been done to death before, but how does 1 or 2 1x12's compare to 1 or 2 2x10's? Im looking to upgrade my cabs and im wondering what 1x12's can do that 2x10's can't and vice versa. Any help would be gratefully received! Truckstop [/quote] I use both GS112's and DB210's run paired..and I own both and call them rig 1 and rig 2. I have tried a few other 12's as well..and not found any to swap my GS112';s for yet. Admittedly I have far more time of the GS112's stack that others which I have borrowed or played through. My drummer and band like the low end of the GS112's and they push a LOT of air for the size. They will easy sort out a very loud band in a medium sized pub. They are indeed scooped as everyone says, but I have horns running on both. I find my high end trills can get lost on an active bass at good volumes easily unless the strings are clean. I have to keep an eye on this at gigs. I don't do hardly anything on the amp to help the cabs though..flat on the dials..and use enhance and tibre controls and that is about it. This was more than enough for me..UNTIL, I got the DB210's which are biased with a mid hump..as they say...and they totally outclass the 12's in my opinion. I think my higher end is more critical to how I want to be heard than many others, so I don't think they would have these problems that I do. These cabs and my amp go very loud and retain a core sound that I love... I think the amp is the great work here though. I feel the bias of the 12's concentrates on BIG lows at the expense of a more rounded punchy sound from the 210's I always use these cab configs paired and I will look for 12's with a harder edge or more mid hump/bias to make them work for me as I like their small stage footprint and easy carry. I defintely think 2x112 is a compromise which I can stomach in the carry department and for lower volume gigs but when I have the room the choice is 200% for the 2x210's I have a spare amp to complete the small rig but for these purposes I have compared with the same amp and the same settings. What I am getting around to is..that if you make the cab bigger soundwise in one area you might have to skim it off another..and it is how you hear or want to hear, that will makes your decisions. Both the cabs are Aguilar and I think they make very good cabs..certainly a cut above most I've tried. I don't rule out a 2x112 stack for my mini rig as yet though.. and I may well find one that gets closer to what the 2x210 does for me but I have serious doubts it will better it.

Not really a fan of 212's myself as I prefer my 10's over the 12's I've played through, but I would rate the SWR Goliath ll as a superb cab in its day. Never ever had a problem getting thunderous low B's out of that or highs for that matter...so good to hear they can still put it out in their later line-up

[quote name='Musicman20' timestamp='1326757853' post='1501722'] Hmm. Ampeg will be super cheap over in the US, but then again, check out the new Genz Focuslite 4x10. The price will be excellent and so will the service and reliability. If I had to buy another 4x10 myself, I'd buy an Aguilar DB410. Heavy, but stunning. [/quote] I have a pair of DB210's and DB's by name, DB's by nature.

Getting hold of SWR in the U.S for even better money shouldn't be a problem

Or..if you are widening the search, try a SWR Goliath ll..or even a lll. SH cheap as chips and an even better cab for that. IME...bang for buck £300 for a SWR G ll in GC is THE deal out there. You have to like big 410's but then the Ampeg is no lightweight...and you should know the sound is clean and therefore not so forgiving up close...( know the sound ) but the bass end can be awesome. They pop up here pretty often, I'd say.

You might just about do it once by roping down the door...but is this going to work on a regular basis.. or does it need to..? I have issues getting the right 112 in my boot...so you don't want a real faff getting this in and out.. The plus is that the Marshall tends to be flatter..??? but then they make need to make up the lenght..??? Measuring stick and trial run before you buy, IMO.. oppps..!!

I always make it interesting for me... and depending on the band leader, you can get away with stuff or not. Then you decide if his/their remit is compatible with yours but I've never been fired on a gig, so I think I must be within limits. Other gigs, it is ALL about what you bring to the party, and that is good too. I guess I think I know more about lines that they do and they leave me alone. In the studio, the challenge is different and you can scale it down as you play it great once to hear it a zillion times...then it HAS to work...a gig is more in the moment But sure, if a gig bores me, then I don't do it for long.

Not convinced by Ampegs cabs myself but the most pertinent point is about the Avatar drivers, so I'd go Ampeg, since you like the amp. At least the cab should be a decent match and better resale

That top is overkill for me.... but I am sure it plays great

[sub]3 defective Sh cabs..?? that sounds very unlucky.[/sub] [sub]I would suggest minimum cab config be 2x112..or a 212 which will be cheaper, I think but less portable in term of car space and carry.[/sub] [sub]I don't think 12's are the definitive chassis by any stretch but from your price point, I'd start looking there.[/sub] [sub]Also, £1000 for SH is realistic for a powerful all purpose rig...but not from new, IMO.[/sub]

[quote name='dave_bass5' timestamp='1326629396' post='1499624'] Good to hear they worked out. The only thing I can suggest is to open the cab up and see if there is a loose connection. Personally I would want it fixed, either do it myself or get it replaced. This would be mainly to help the resale value further down the line but also it would bug the hell out of me, whether I wanted to use the horn or not. [/quote] This. It is brand new so send it back if not upto scratch. I buy/keep all my stuff with a resale in mind. You have paid full price with a fault... you can't pass that on to someone else as they will knock you for it.

hmm..not sure about this. There is an argument that 35" is the required scale..but I have 34" that are great with a low B. But..those basses took some finding. Not because of the scale so much, but from the definition of the B itself. Note: I don't subscribe to the thinking that a neck thru and/or 35" scale is the default best start off point for 5ers. This is certainly trial and error territory as I don't think you will know if that bass works with a B or not. IME, this is no given. You could detune whatever is on there just to get an idea of the sound and whether it is going to be good enough. If the sound is rounded and indistinct and unbalanced from the rest of the strings...you may be at the start of a problem here. Forget the tension at this stage. You could go down in steps. a tone at a time, to see how it goes. If you are doing stuff which requires low tuning...as I was..then time to get a 5 string. But, again...5 srings on a bass does not make a 5 str, if you get my drift. The low B defines a 5 st..and not every bass works in this area. I'd say most..IME..do not. Also... clean strings are a must..as nothing you do, wants to wooley (sic) up that B..IMO.!!!