JTUK

My 2p.. SWR are the older company but probably bear no relation now after a larger Corp by-out Depending who you talk to, SWR and Eden spawned a few copyists and that is why they all have the same the enhance and timbre controls which feed down to amps like Thunderfunk. The ngrs prorbaly had quite an incestuous realtionship work and design-wise and probably all worked closely to each of the main protagonists at some point. Again, depending on who you believe, it prorbaly goes something like Acoustic-SWR-Eden-Gibson-Thunderfunk...to name and simplify the links a tad. IMO, SWR best period was when they produced the SM series of pro amps and the Goliath ll/lll cabs. Pre Fender, the SWR amps are very well made... and I wouldn't say the X series is from the same company myself. Eden and SWr used to be very good and top dogs, IMO in the 90's.... different voices was the thing that put you in either camp, not the quality. I don't think you'll have any problem with the cabs, and I'd prefer the SWR snr610 myself but that is without having to carry/transport them. Connection-wise..those big powerful lumps need a better conduit than jack plugs, so a banana jack predates todays speakon use. If you rack the amp...just fix the banana in a speakon socket bolted onto the back of the rack..and go speakon all the way. It is more secure for the power you are using. Banana jacks were the old way to bridge amps as well...

As far as these type of town things go..this is always good. Getting bigger and better every year and there must be around 40 bands playing...or more... in and around the 4 main stages and other pubs [url="http://www.playinginfaversham.com/"]http://www.playinginfaversham.com/[/url] ...but you had better like Shepherd Neame

I don't like to read this about a quality bass needing a neck shim... but that to me sounds like what is required to sort this out in terms of the action. The heavily gigged bit sounds like sales-patter to me.

We use this... [url="http://www.thomann.de/gb/stairville_stage_tri_led_bundle_complete.htm"]http://www.thomann.de/gb/stairville_stage_...le_complete.htm[/url] Pretty good and comfortably probably fill a 3x5m stage. We don't do anything special and just use the presets as the manual isn't that good....

He must be fed up with the question, for sure... I doubt anyone agrees with him, tho.

Silent on my amp...as is the mute on my Tuner when routed through the amp. Got to say, a click would rather defeat the object for me...

[quote name='EssentialTension' post='1356897' date='Aug 30 2011, 09:30 PM']Do beercrates still exist?[/quote] Do you know, I haven't had to use one so haven't tested this recently, but I guess I would then pack something under each end of the cab..but since I have a semi para EQ on all amps, I'd would go for Bill's suggestion first. The last time this was an issue, I just took most of the bass off the amp and that worked.

Well, I don't have any GAS so you could say I have what I want.

Don't need to ..but if I did..I'd make do with something at the venue as it isn't a problem 99% of the time. A beercrate or something

[quote name='bassman7755' post='1355590' date='Aug 29 2011, 07:40 PM']I'm guessing you didnt try a barfaced compact ...[/quote] Classic.....

I agree with using a sound that is helpful to you. I am often asked to use an effect but I'd rather emulate the sound/feel/vibe with just what I have...sounds corny, but, my hands... If I dig in hard I can get OD ..kind of...I can emulate fretless to a degree, all within the scope of my general sound and style. If a bass sounds poor or average, even, then I think that detracts from the band. If vox sound poor, no playing is going to be able to bring that band up, and the same applies...to a lesser degree, admittedly, with other sounds within the band. All instruments need a bit of working on... and it is a basic element of playing, IMO. If you take a bit of time here, it can get you points elsewhere. I find audiences might not know much about sound themselves, but they know enough that it sounds like a the record... or that it is truly offensive..mostly I have to take references about sound from the guys in the band..and I trust them to a degree. Most comment favourably but I take more heart from the fact that they don't HAVE to take issue with it. If it was awful, you'd sure be pulled up about it.. If you get regular mentions from the guys you play with..you can also be sure they are mentioning that to other guys as well...so that doesn't do you any harm...at all. Sounds great, feels good are the best endorsements for me...why shoot myself if I can only achieve one..esp as sounds good is easier to get than feels good, IMO.

[quote name='chris_b' post='1354638' date='Aug 28 2011, 06:55 PM']......................... I want a combined total of speakerage of between 600 watts and 1000 watts. And I won't be relying on any cab specs for this info!!![/quote] Agree. Just as TC were panned in another thread, I am most sceptical to hear some stated power soaks. I recently broke a 12" chassis... and the jury is still out of the cause. Duff component or too much amp into the cab....?? Trouble is, the amp is not reknown for being loud and was runing at 2/3 the capacity of the speaker output....max..!!

I wonder if the RH750 was a reaction to a lightweight sound accusation..or was always in the product plan at some point. FWIW.. I though the RH750 very good at a reasonable demo volume.... but something like a Thunderfunk really does keep its sound together when pushed. Not sure that is something that many amps can do...or I would say it is not the norm..IME.

Both good..and I liked my plugs last night. I decided to give my ears a break.

Majorly important, IMO. Our drummer is currently raving about my sound and I take this as a compliment as his kits always sounds great and therefore I trust his sense of sound and what he wants/needs to hear. Some people can tune them and some REALLY can't so all I have to do is position my sound to compliment his. That means I don't obsure his kick drum but for my tastes, I have to have it audiable and playabable to my style and preference. The fact that he rates it as the best sound is pleasing as it means we are half way to a good section straightaway without even playing. I am often bemused or laugh about people getting obsessed with mids to cut through and then f*** the sound out of sight from a collective band sound POV. The bass needs a sound that the player can handle...and mids can be very hard and harsh unless you are really on it, technique-wise. Plus it doesn't help in seperation..etc etc I think people look to mids as a saviour when it can be anything but..... The whole band needs to sit down and check sonically their sound in the mix...and we have been round LH in the keys before, but you are seriously missing a simple trick if the sound is poor in the first instance The number of times where a bass will obiterate the drums ..mostly..is staggering if my last weekend of watching gigs is anything to go by. These guy HAVE to play compressed but the fact that they can't hear the damage and set up their sound in the first place, also means they have no chance of using compression... Poor sound...=poor band, pretty much.

[quote name='stingrayPete1977' post='1354298' date='Aug 28 2011, 01:19 PM']No they wouldn't drive an E type on it's old tyres, you would keep them to one side for shows/resale and use replica ones for road use![/quote] A friend of mine has restored a Vincent, but he says it is lethal on original tyres .. he was gutted the first time he took it out afrer spenidng so many years getting it in top condition

I'd say amp.. although there are good and GOOD amps. But a poor signal anywhere in the chain is going to hurt you. I think a lot of sound problems start with the bass sound being poor..and then you find people pile money into the amp and cab..and it is a game of catch-up that you never really win.

We use a cheap LED bundle from Thomanns, just a bank of 4 and they do pretty well. The set up is quickly as the 4 spots are pre-rigged, the carry light and the effect good. You will run out of light on a 16x30 stage..or rather spread...so you would need to double-up there...but they are also cheap enough. The only problem I have had is the the stand isn't the best and I have striped the thread on a bolt..which I am sure I can fix easily enough. Outdoors, you will wish for PAR ( for the heat, ) but then the power draw can be an issue so apart from that, LEDS are fine, IMO...and pretty cheap as well.

The smaller places, I use 2x112 and for larger, I use 2x210 which I far prefer. The amp is 550 into 4 ohms. That rig will do a stage 30x16 without decent monitors, ie bass in them. It will also do small halls when the P.A decides to go bass-light What I consider over the top, is a bass rig that drowns the drums when the band is in full flow..and the drums are mic'd, but then some people don't have a clue about seperation and are probably worse than deaf.

What used to make me laugh was the ridiculous shapes people used to make with the graphic.... and then wondered why it sounded crap. But you have to recall the context... there was nothing out there to compare and compete. Maybe a few Fender Bassmans and PV..so the competition..at that time..was rightly slayed by TE. Certainly in the U.K....they were the only maker who made amps especially for bass at the time, which was a turning point and TE made serious sales.

That is good for him..normally the bass is quite scruffy ...albeit excellent in the mix. Like the clip.

They were a good rig 20 plus years ago..and then SWR came along and raised the bar. TE never recovered. Now they are totally outclassed by new amps..but bang for buck and a starter rig for someone who doesn't mind the weight...still worthwhile. I never used them myself though..out of choice, altho I did own an all valve combo. I never liked the graphic myself

You have to work out how cost-effective it will be and how much you can control as to where you use it. You could be getting close to the realms of you dictating certain conditions at a avenue... where to hang the back-drop, control of stage/venue lighting....and it just becomes a nice idea to set you apart but doesn't actually work out on 80% of venues... so therefore you can't justify it etc etc .. I tend to think unless the stage is built around your performance there is only so far you can go with it. I was talking to a band the other day who said they MUST play at night at the local festivals as their light show demanded it...as opposed to getting the performance worthy of that slot in the first place... Depends how much of a distraction it gets and the returns for the outlay.

We used Wharfedale 15", and Tannoy. The Wharfedale's are surprisingly decent for an active monitor for Vox and Acoustic gtr. I wouldn't be rushing to put anything else through them but then again, we don't want to for main vox. They do very well. We have access to Tannoy's and they are quality. We mostly take our Wharfedales to supplement whatever the P.A supplies..which seems odd, but they work.

[quote name='Clarky' post='1352709' date='Aug 26 2011, 04:47 PM']Petty clear consensus emerging here. I probably would be more circumspect if it were all-original but its not (as its a refin) so I am inclined to have Mr Petersen look over it. Thanks you all for helping clear up my thoughts[/quote] This.... plus I can't see the point of a gigging bass being unplayable. How far do you take 'untouched' anyway?