JTUK

[quote name='Pete Academy' timestamp='1319566693' post='1415926'] I know there are Fodera owners on the forum. The closest I have come to seeing one is when Janek Gwizdala came to our shop for a clinic, but I was too timid to ask for a go. My questions are: Have many of you tried one? Are they as great sounding as claimed? Are they so much better than other hand-built basses, like Roscoe, Ritter, Sadowsky, Ken Smith, Wal, etc? Just curious... [/quote] As an aside.. How many of those are hand-built basses...?

[quote name='EBS_freak' timestamp='1319544309' post='1415455'] With the look of all these cabs, I thought I had just walked into Maplins... [/quote] Interesting to apply the word 'boutique' to these cabs.. The Baer is about the only one that is getting there in terms of the pics and then they go and spoil it with the handles and footpads, IMO. I have to say that a few of the home-made BFM projects from guys on here look way better. Of course, no one will be fooled if the cab sounds awful but presentation is an important part as well. If it doesn't matter to you..it might matter to the person you are selling it to.

Combos ..in my view, are a decent compromise. The Redhead was a really good combo say, 15 years ago or before, when SWR made quality stuff...and I think you would have to add another 8ohm cab for 350-400watts I have tried the Ampeg Neo combo 210, 600 watts thingey..and I thought it was very delicate and typical Ampeg EQ..which is poor, IMV. Sounds ok if you want/like the Ampeg sound. The build didn't impress me either. My vote goes to the Markbass 102 combo...but definitely not the 112 or 115 which uses the same amp. You'll get a decent capable volume out of this with just the 210's and it will amp up to 500 with an extention cab. Light-ish and portable so if it has to be a combo, this would get my vote...but be prepared to have to add an etn cab if you are in a loud setting. I think I would definitely struggle myself with 210 in a full band..and so does my gtr mate who lends it to me. we always have to add a cab. This is why you really want seperates unless you are really sure what you will run it against as you'll likely end up with two cabs..and negate the reason for a combo anyway. But the Markbass 102 is good for £600 +or- SH on here.

I'd go with a 610 if the carry was feasible..ie transport and storage. I might still add that option If I find what I want...I'll only get it out for certain dates and it will needs to be on tilt-back wheels and then I'll worry about getting it to gigs. A 610 would be monstrous... though I seriously doubt the Ampeg would suit me, but there are others, AFAIAC. I currently run 2x210's and the sound is right up there...so a 6er...??? deffo to be considered.

I have no idea about the weight of my basses and didn't ask about it when looking to buy. I have some history of back problems but I manage it. My cabs etc aren't stupid heavy either, 60 odd lbs, but I try and do things correctly. I only play for 2 hrs max 95% of the time but that wasn't a concerted decison with the back in mind. I guess it isn't factor, but then again, I guess my basses don't weight 13lb. I like the idea of basses being a substantial piece of wood but just about the only bass that I thought was heavy at the time, was a Wal.

[quote name='wateroftyne' timestamp='1319540818' post='1415339'] BUT.. I'll bet he can whack them if it's called for... [/quote] maybe... I just think that approach to that track was too wimpy... and I like to hear toms sound like toms.. Wasn't about to scream he couldn't play on the basis of that post though...

[quote name='discreet' timestamp='1319540064' post='1415321'] This is the guy... track comes back in at 2:13. [media]http://www.youtube.com/watch?v=ngxaUjIYX1Y[/media] [/quote] Now, that approach is too wimpy for me...

I have used SWR SM and Eden amps and I can say that the TF-550-B is the easiest to get a good sound out of. I never have to touch the EQ stage, maybe just enhance or timbre once in a blue moon, and the sound is done in seconds. I think Eden and SWR SM series are capable of great sounds..it just takes a little more time to get them. I say SWR SM series as I don't rate the other amps of theirs in the same league, tbh. Not sure how much the Eden evolved once they got bought out, either. If your bass sounds good, I'd go as far as to say, it is nigh on impossible to get a bad sound out of the 550-B and this is a popular sentiment in the U.S as well, IIRC. Dave Funk has continued to push on from the benchmark SWR, Eden and Acoustic amps from which TF's are based on and I haven't used anything better. I think there is a reason why they don't come up often... but chris might sell you his..ONLY..if you find him a 750-A The 550-B is not made anymore and that doesn't help. You could always register interest with Thunderfunk for a SH/recon from them.. as he is very accomodating about overseas sales.

[quote name='wateroftyne' timestamp='1319534643' post='1415189'] It's even better playing with a drummer who can play an acoustic kit quietly... [/quote] I agree with this... and the dynamics are easy and can be huge as well. I don't think I ever got over sitting through a 2 hour..NOT JOKING ...sound check of an electronic kit tho... Our guy is done through a P.A in a couple of minutes tops as his kit is tuned so well.

I am actually pleased that we have been able to drop our levels of late...but not before some of us damaged our hearing, I'm sure. I wear plugs all the time and don't have any ringing in the ears now... and I encourage the band to do the same.. Punters and bar-staff are at the same risk as well over the course of time but just because we are protected to a degree doesn't mean we now have license to wind it up..!! One recent gig I had to misfortune to experience was where the bass drowned out the mic'd drums through a hefty..for a pub venue..HK rig. It would have been funny if it was wasn't so damn stupid

I fully expect to wear plugs or less visually plugs when watching bands. It was good when our loud drummer said we were tiring him out as that meant he plays quieter...and we all get the benefit of that. Tis a problem and altho I would think it was age related, it seems you are doing the right things. You might still think to get your ears checked altho you'd more likely notice if you were having hearing converstions in cluttered situations.

I think this bass works better in a solid colour myself.... it just does.

They have always gotten back to me...but they are a small unit so I would phone them if I needed an answer on something . I also think they are making great strings but a custom order might take a few weeks. That and office admin is the price you pay for small hands-on companies....and it isn't a problem for me.

Stock 60/70's film score sound. Heavily muted with a pick. Neil Stubenhaus gives a great demo on a Star licks video. Nowadays you do it with a palm mute as you'd not often set up a bass with foam to get this attack...or at least I wouldn't. You might also use palm mute and thumb nail.

Hoping you get the money refunded as asap, Gareth.

It is a decent point, admittedly. We have to regulate the type of work we do ..as in doubling up on dates..as the drummers just can't physically do it anymore. Suits me..we only do 2 hrs max...

[quote name='lowdown' timestamp='1319484161' post='1414795'] Quincy Jones and John Robinson, both a bit 'Off the Wall' got 'So Excited' they partied 'All Night Long' - and the rest was history, as they say. Top Drummer.... Garry [/quote] He must had have something abiout him as he was on just about everything for 5 years or so.

[quote name='EdwardHimself' timestamp='1319479949' post='1414725'] 5 years of learning and opening my mind towards all aspects of music, not just being a bass player is better than 25 years of being set in my ways. [/quote] It is good that you consider that you have an open mind and long may that continue. I am sure I know players of 25 years who have not moved one bit and they are happy enough but a diverse input is good, IMO.

[quote name='EdwardHimself' timestamp='1319479267' post='1414712'] Don't be ridiculous. That's the same old crap as saying "basses should only be 4 strings" or "guitars should all be tuned to standard". Personally I tend to judge a musician on what they sound like rather than what they're playing but that's just me. [b]In my 5 years of playing bass[/b] I'm yet to experience the type of full body fatigue that drumming brings on from playing the bass. It's not supposed to be an insult, bass has it's own set of challenges [/quote] 5 years of playing..??? I'm sorry but that says it all.

[quote name='alexclaber' timestamp='1319470999' post='1414505'] The problem is that you're treating all 12" woofers as the same! Volume displacement, which is clean cone excursion (Xmax) multiplied by cone area (Sd), determines the maximum low frequency output of a loudspeaker, assuming that the port remains linear. Ports never remain linear at high SPL so a large and well designed port also matters significantly. The Aguilar GS112 has a driver with a Vd of ~240cc - and it isn't a bad driver by any means, it's fairly typical of the decent bass guitar 12"s. The Midget has a driver with a Vd of 330cc. The Big Baby has a driver with a Vd of 496cc. So the Midget's woofer can produce ~35% more bottom than the GS112 whilst the Big Baby's woofer can produce over 100% more bottom. So if you find you need two GS112s to produce enough bottom at a gig a single Big Baby (or Thunderchild or Baer 112) could match that. [/quote] I guess you are assuming I'm talking about GS cabs and it is true I do own and use them sometimes but not all the time, for sure. Your video 'evidence' isn't much of a recomendation, I'm afraid, and neither is the styling of your cabs. I am not one for the home made look so when you start to produce decent looking cabs, I'll might well consider that since the cabs look worth a start then maybe the rest of the gubbins/design etc etc maybe, also.

[quote name='EdwardHimself' timestamp='1319469981' post='1414474'] It depends what type of music you're doing really. If you're into something a bit heavier then sometimes a big buildup or finish can be quite beneficial. [/quote] which can all do done by someone who knows what he is doing with the config I have given. Big kits are for big stages and big egos. The next question is can the guy tune it..and if he can't ..then back to square one and find someone else. The number of drummers in bands round here who can't tune a kit... and that is 90% of your sound check sorted..or not...!! Same applies to all instruments, of course, but drums especially.

I tend to like one mounted and one floor tom plus decent cymbals. Am a sucker for a great crash but also agree it is the hi-hat that makes the funk....and it isn't anywhere as intrusive. Going round the kit fills more than once or twice in the set would piss me right off and as with bass slap, the general rule is one bar is more than enough time to say something.

As one who runs 12's and hears the limitations, I remain sceptical. I may think about getting a harder edge to 112's..at the expense of the big low end, and then run it in pairs to negate the loss, but then that doesn't end up as a one cab thing and therefore makes the 'solution' pointless, IMV. It might be cheaper to run a single but that is just about the only reason you'd consider it.. and therefore, I wouldn't.

[quote name='cheddatom' timestamp='1319461281' post='1414301'] As a bit of a drummer - Who cares if I get bored and put a load of fills in as long as I keep time and dynamics? Sometimes the reason someone has a load of cymbals is 'cos just hitting the kick and snare can get dull! [/quote] ha ha ...you wouldn't gig much then.

2x 210's show the limitations of 2x112's, imo. One I just turn up, the other I have to EQ. I'll probably swap out the 2x112 for others with more of a voice as too much bass tends to wash out all the characrter that I am looking for,. I have two excellent amps and don't susbscribe to the 'an amp is an amp' thinking. Both are extremely capable but one can need tweaking and time, the other one is near on impossible for me to get a bad sound.