JTUK

[quote name='Merton' post='1352791' date='Aug 26 2011, 05:44 PM']....... I was referring the slightly bemusing responses of people basing amp tone on spec rather than tone. Totally agree with you that lying about a spec is fraudulent, but ultimately the reaction of some people seems to suggest the amp is a less worthy tone monster now and it's laughable.[/quote] hmmmm people do it a LOT here when talking about their fave piece of kit..... certainly cabs. FWIW, I think Gareth is defending TC as he is pretty close to them, but, AFAIK, that came about AFTER he purchased their products so was obviously impressed enough to pay retail and use them. I think TC have a decent line-up on what little I know about them but I have stated that their amp performance seems to be configured to the cab range..or vice-versa, but what would be so unusal about that. Maybe they have a controller type mapping to get the best out of their cabs but that is well known. Nobody slams Martin, for that..and Bose did something similar years ago, IIRC. You aren't going to build a line that is incompatable. As for the watts thing.... probably is a bit clumsy and a PR own goal but watts is an arbitary figure to all intents and purposes as no one can turn round and say that sounds like 500watts being pumped out. It is either loud enough for your use or it isn't. Even getting half of that as real power doesn't mean much and I am sure there are plenty of examples of loud amps at such and such and quiet. For me it is useless anyway..as I play very lightly and anyone will be able to produce far more volume from a given setting than I will, for sure. My whole thing about lightweight is to give it time to show up a trend. Maybe stuff made in China will be so expensive to repair that that negates the cost savings. I like things made well enough that I can take it to a decent tech..and they will be able to repair the specific problem rather than have to replace a whole board and do it quicker and cheaper. I like it more that the build quality is such that only an accident will require repair in 20 years of use, or so... I say again..VERY impressed with the RH750 with a RS210 in a closed demo room and I'd expect that amp and 2 cabs would do a good job for me. Will I buy one..? no! but that is because I am more than happy with what I use anyway. Oh..all U.S made as well. Having said that...wouldn't go near an Ampeg as the EQ is useless, IME. Very good if the plug-in sound works straight away every time, but IME, only the Valve jobs do that, Don't talk to me about the cabs, tho. Doubt any of that is currently U.S made either..!!

I'm sure that TC has a mapping system which gets the most out of its box... it is the reason that I think you should use the whole amp/cab config for the best results. Very impressed with the 750/RS210 demos but how that equates on live gigs could be another thing. I find quite a few reverved amps don't amp up that well. MY SWR400 does ok but runs out of steam for my style..but is better than the LMll, for example, IMO... but on the low level demo you might buy the amp on, the LMll comes across very well. I would have bought one had I not used one on gigs quite a lot. The best amp I have found that pushes hard and keeps its sound is Thunderfunk, and I am sceptical about £700-ish doing it tbh.. esp the super-lightweight models. Just my 2p

On stage they will do the job in a loud band. I don't think you can get away with little combinations unless you have decent side fills. I've seen many a vaunted Markbass combo rig with extention cab fail here if my perception of their on-stage sound is anything to go by. I think they can EQ to be heard but not with a decent sound. Ditto Ampegs Neo combos, GK etc etc ..all of which I've had the misfortune to have to use recently... or rather, I was 'convinced' much against my own judgement I take 2x210 for decent stages and not many will be able to put through their monitors what I will want to put through my rig. If the soundman can promise full range 4 mixes, then I'll consider pairing my rig down, but then that is precisely the sort of gig that the 610 will be for anyway. I accept carry is the real bug here, of course, and only you can decide if the hoops you have to dance through is worth the few gigs it may get used for. You have to gauge whether you can get the sound you want from 500watts plus into whatever cabs over powerful drums, keys thro the mon mix, plus gtr who will need to be powerful. I understand all about letting FOH do the work, but you need to be feeling it on-stage as well with the sound. Making do isn't going to help the out-front performance. To be able to not INSIST you are mon-mixed with bass, I'd say 750-A into a 610 is the requirement and if you don't have carry issues..which seem to be the main onbjection here..and understandably so, a 610 is great value for money. For example, a SWR610 snr for less than £400 is great bang for buck... so if you see one, I'm interested...even for that handful of gigs a year. I agree I couldn't justify spending much more on a specialist stage rig.

I am looking for a 610 to use as a large-ish stage cab. Not sure about the practicalities of it..and I doubt I REALLY need one...but I am keeping my eyes out for one to compliment my 2x112, and 2x210 rigs. The latter is doing fine atm, tho.

Tone Hammer will do the trick

[quote name='AsterL' post='1350329' date='Aug 24 2011, 03:08 PM']What things should you keep in mind when looking for replacement speakers for bass cabs? I'm looking into upgrading a 210 cab from 200 watts @ 8 ohms to 600 Watts @ 4 Ohms[/quote] I wouldn't swap around chassis in the box..I'll sell the cab and get another one if I thought it wasn't upto what I needed.

[quote name='chris_b' post='1350228' date='Aug 24 2011, 01:35 PM']Depends on the instrument. If I had a budget and found something I wanted which cost more then the budget would change. I practise and rehearse at home but the primary purpose of every piece of gear I own is to gig. Everything I buy has to sound better than the last purchase so nothing gets bought on a whim or because of it's looks.[/quote] This ...pretty much. I'll spend what I want to spend..and that depends on how much I want it.

[quote name='Doddy' post='1350347' date='Aug 24 2011, 03:31 PM']I like active electronics because it gives me more tonal control without fiddling with my amp.[/quote] This..... but I would always have a passive option and I would always want the bass to sound great passive..and use the active as a bit pokier version of the passive sound. If the bass HAS to be active to give it any sort of sound, it is the wrong way to go about it, IMO. When playing at home, I'll often run the basses in passive and sometimes I'll stick with passive on gigs.

[quote name='chrismuzz' post='1349540' date='Aug 23 2011, 09:32 PM']Slightly off topic, but I once attended a gig where the bassist broke a string mid song. He didn't quite throw his hands up and admit defeat... What he actually did was to shout "F*CK!!!" into the mic and storm offstage cue the entire band stopping the song and the vocalist awkwardly mumbling "Erm... has anyone got a spare bass?" True story![/quote] Was recently watching a gig when a precious gtr broke 2 strings on 2 gtrs on 2 songs. He said over the mic that this sh** shouldn't be happening and they needed a break to get things together.... whence his girlfriend came over and restrung both guitars taking the best part of an hours break. We rolled up laughing..... should have taken 5 mins max.... but I don't think the gtr felt he should have to do that sort of thing. The rest of the band brought all his gear in as well...so he doesn't feel that need either Still makes me chuckle now

Keep playing.... unless I have completely lost the plot but the likelyhood of that is very low as the drums will be playing so I am playing along to him..until I can rescue it. And then I'll laugh...unless no-one has noticed and then I wouldn't want to give the game away either.

We always used an agent or promoter close to the record company so I wouldn't know where to start without one. And to get one of these would depend on what product you had to sell. Not sure about the pub scene and whether the economics of doing those will work with a van and travel costs etc from the U.K. You will probably have to subsidise it from your own pockets unless you can get into the clubs where the promoter/club normally put you up in hotels and and provide evening/breakfasts. That way..your only cost will be daytime meals. But it is true that european tastes are far less influenced by the latest fad from London/UK, IMO. They like what they like and will support that.

Neck thru seems a more expensive way to make a bass...so it isn't really a cheaper model option, IMO. Why must it be neck thru..?

The cost of most events will incorporate PLI and the venue will have to have it. Bands should be covered in this anyway. Maybe it is a saving on their part to not pass on that to 3rd parties. Since events costs are massive these days..and the reason for a few not continuing, events might be trying to make savings and this and a few others are ways to do this.

Nope..not wishing to go round the houses with this, but just to say that some people have inherrent aptitude for things and others will never get that..no matter what they do. If we are talking about local level, a lot of that is down to time put in...but saying that..I know people with 30 years of playing and it still doesn't work. 3 bass players can be taught the same slap line and it will feel/sound differently..some will just get it..others will fabricate it..and it will sound ok..but there is something missing. Same thing... it is like hitting a golf ball. Every one can hit the thing, but strike it properly is a real skill and art..and it is hand to eye co-ordination. That is why Mclroy is a complete stand-out in his field..all the other guys know the sound of a pure strike and then they look round and see it is Rory. Can't be taught. You can put building blocks in place but you are seriously blowing smoke up a backside or two to suggest all are equal but for opportunity and time. Sorry, if I have skiimed the last page or two... but some stuff here is so far off the beam. It might suit teachers to suggest they can get you to a certain place..but it really all depends what you bring to the party. It depends when you the player runs out of steam. IMO, of course.

[quote name='Bilbo' post='1347877' date='Aug 22 2011, 11:56 AM']Sorry, guys, but I don't buy this 'its the spooky magic mojo thing you either have or you haven't got'. You'll be saying only Black people can play Funk next. The ability to teach and to learn are things that are central to the sharing of any concept, including what makes something 'funky'. If I say to someone, for instance, 'leave more space' and they don't, they only have themselves to blame for not being funkier. I can teach it, they aren't in a space to learn it. If they do 'leave more space', as was suggested, then they will have moved forward in learning how to be funky. Put 100 other related concepts through that same process, including listening to funk, and you will have a funky bass player. WHat is the difference between that and a kid learning to phrase as part of a string section, or a horn player to phrase in a saxophone section? You learn the idiom from those who teach you, those you play with and those you listen to. Funk is not a magic ingredient for the chosen few. To suggest any 'skill' is a natural gift that some have and others don't is a dead end.[/quote] Can't go with this at all. Othewise we would all be world class this or that..if only we put the time in. Sorry, but that is nonsense. I agree that pointers/teaching/influence can get you so far...and this is relative... but some people can go miles and others don't get off first bass.

I'd say no. I think you can listen and be heavily influenced and you can get to a very decent level.. but sometimes it is all down to what YOU have. Some have it and some don't.

I wouldn't buy blind..and would want to play some of the other examples he has made...for sure. And I would want to go and see what progress they have made and talk over what minute changes they will make for you. I wouldn't deviate too much from what he has already done though as you then become a guinea pig and you will need to commit £1500 minimum to get something, I'd say. I am talking in-house build here and not sourcing parts made elsewhere. If you don't do the above..I can't see why you would want custom..

Wedding..which I wasn't looking forward to..but I'd already been paid and it wasn't as bad as I thought it might be. All good. I am really looking forward to the next 3 gigs...all goodun's... ending with the Faversham hop fest..which should be fab as they take over the entire town for 2 days with 4 stages...hope the weather holds.

Yep..pitch to get the job rather than anything else. It doesn't sound like you have done much before so you may want to take into account the learning curve on his budget. Have a chat with the engr..about decent rates and what is the norm at his studio, I would say £150 an 8hr day is ok for a small budget for starters, but it really depends what he is pitching at. And if the whole band pitch in at that rate..the budget could get out of hand for indie type work quick enough. Or you may want to price for the track... bearing in mind..it is you who will probably lose out regarding the time You really need to know more about where this is going..and what market/returns he is expecting. You need to be flexible... and one of the reasons they have asked you...is they think you can do the job and they think the budget will work. Which is a compliment.

The colour yellow is attractive to them...

[quote name='Ancient Mariner' post='1345612' date='Aug 19 2011, 04:33 PM']One more thing - he mentioned an issue with 'fakes', although didn't go into details. Could that explain why sometimes a set seems to be 'dead'?[/quote] I think DR respsonded to the fakes issue by saying the pack should be sealed etc.. Following on what he said about fakes, I was pretty sure mine didn't adhere..but how hard is it to fake a sealed pack..if you have done everything else to look the part..?

That is not a complicated rig so 30 mins minimum at comfort speed and 1 hr absolutely tops in a lazy mood. People need to delegate certain parts and all pitch in. I do bass and P.A cable run and lights..and anything else that needs doing, for example. Nobody is standing around but we aren't rushing either.

[quote name='Linus27' post='1345088' date='Aug 19 2011, 08:20 AM']Ok, so thats the flat sound then. I must admit, the first track with full bass sounded fatter naturally but with a lot more growl to the ears but also a bit over bassy at times.[/quote] I would expect that...as there is a lot of boost on a MM bass control. In reality, too much to be useable, flat out IMO, but +15db is probably not unique on pre's either.

[quote name='ThomBassmonkey' post='1345068' date='Aug 19 2011, 07:57 AM']Just to correct this in case anyone is looking for info on the GK mb115, the 15" speaker is actually rated at 4ohms, so you can't add an extension but will get the full 200w without. [/quote] ha ha.. typical, I thought there might be a sneaky thing that went across the norm somewhere...which is why it is always good to check the manual. But with the Markbass combo, an 8 ohm extention cab will get the full 500watts at 4 ohms. What cab do you have in mind, incidently?

Typically use matched cabs...ie, the same model line from the same maker. This will be a known and matched variable and should sound very good. Since I don't like 15's myself, I would use 2x210 cabs..again from the same model line and maker. This works far better for me. A 1x15 rated typically at 3-400watts at 8 ohms and a 2x10 rated around 350watts at 8 ohms would be a good pairing as both cabs can take the same sort of power and is split evenly. If you are mixing makes ...it becomes more of a lottery, IME.