JTUK

[quote name='molan' post='1316976' date='Jul 26 2011, 01:16 PM']Interesting to see Black is romping away with it so far. I'll own up that I bought Chocolate Thunder, with a matching coloured head, as a replacement for the Hot White. This was partially based on a recommendation from a bit of a 'name' player that said they looked cool as a full set but also because they just happened to pop up here for sale! The brown range looks really nice in the flesh but tough to say what I would have bought if I'd been given 'free rein' to choose any colour.[/quote] You want to hear them with a TF

I have to say I haven't been impressed with the GK stuff I have used. I call it modern-day PV and it will do a decent job at decent money but it is often stuff that is supplied as backline and when I ask what stuff specifically, the answer was in one instance, quality backline. Not a term I would use, I'm afraid. Example [url="http://www.musicstore.com/en_EN/IEP/Basses/Combos/Gallien-Krueger-700-RB-II/210-Combo-/art-BAS0001906-000"]http://www.musicstore.com/en_EN/IEP/Basses...-BAS0001906-000[/url]

Checked out a RH750 fleetingly in a shop the other day with a RS cab. Very impressed with the sound and with very little tweaking.

Classic black DB series for me. Best looking cab around by miles, IMO. and not half bad sounding either..

[quote name='d-basser' post='1316713' date='Jul 26 2011, 10:16 AM']They are bout £125, I actually didn't pay anything for it, swapped it for an old battered peavey cabinet I couldn't off load couple of years back, so doesn't owe me much. Thinking this might be the perfect excuse to buy a 5 string acoustic instead.[/quote] see..that is what we wanted to hear.

[quote name='dave_bass5' post='1316812' date='Jul 26 2011, 11:26 AM']True but they can also have a slightly scooped tone and this wont help getting through a loud busy mix, especially if your cabs are scooped as well. This is why im not keen on PJ's, at least not stock ones, as i love the deep tone the neck pup gets, you just dont normally get that smooth tone with a P pup IME.[/quote] I run them with GS112's sometimes....albeit with a lively sound..as that is what I like. How much more scooped is that..?? ha ha !!! I have to contend with LOUD drums, gtr and keys which can be a powerful sound, IMO...I would be horrified if I was to loose D and G strings. I have semi para's on both amps...but run them flat on the dials...only ever use timbre and enhance. As with all these type of things...you can have some kit that will never in a zillion years help you here...but that consideration should be in your choice of the sound chain. Some basses/kit will be better/more biased than others and some will just not be upto it. But a jazz is a good start to getting through a mix, IMO.

I've always wanted to like Sadowsky's, I think he has a great eye for styling, for one thing. I haven't found one I would buy. Sound-wise..I far prefer them to a typical jazz so everything is in place for me to own one.... but I don't. But the reason Sadowksy got his start was because he provided basses that improved on the original..IMO. They may now have their own identity and purpose and they may well have caused Fender to have to up their game...because at one time, they ( Fender ) made a pile of pooh, IMO. And those piles are going for the same sort of money that a used Metro would nowdays... I wish I had that pile of pooh to sell today Just my own snapshot opinion of the basses I came across at the time, of course..

Don't understand this thread at all. Jazzes have a wider range than P-basses and you should have no problem getting on top of things. A P-bass is buried by comparison... and I don't mean that disparingingly...as that is what people want and love from them. I have active Jazzes..but like, from time to time, to run them passive as they work well there, IMO. I go active just for a tad more control at my fingertips as opposed to running them flat out and sounding completely different. Assuming the basses sing well enough, I can't see why you should have problems in a mix.

[quote name='jakesbass' post='1316651' date='Jul 26 2011, 09:26 AM']just for balance... I know loads [/quote] Indeed....all the guys I know can read very well and blow over anything. They just don't get the gigs otherwise.

If you like one, I'd guess you'll love 2. Heard them recently and they are good cabs. For that money you could have Aguilars or Bergs.

I'd guess that a good reliable repair would cost more than the bass is worth and that would possibly always be a weak point. Get it looked at, by all means, but to all intenst and purposes, that looks a write-off to me.

[quote name='Marvin' post='1316399' date='Jul 25 2011, 10:14 PM'] I'm afraid you just sound like you're on a wind up. Bill is never going to compete against ready built cabs, they are after all self builds. And, as Bill has already pointed out, Alex builds cabs that the majors can't as there isn't the margin in it for them. I don't see anything wrong with Alex's presentation and the vast majority of the people who have bought his cabs really rate them. But you're right, if it ain't broke why fix it? Unless of course it never worked to start off with.[/quote] No.. it is just..and I've seen this in another thread..that certain people are trying to convince you they have invented the wheel which considering some of the people they are up against was laughable in that particular thread, but there you go. What I am saying here is, .. if the build is poor, ( conjecture ) the website is even worse, then why on earth would you jump straight out and assume everything else is just wunnnerful..?? So what we have is a couple of protaganists here who are largely ignored or unknown by the rest of the industry. When you start seeing independant reviews posted ..as opposed to someone who wants to 'review' his latest buy, to a lot of other 'fans', and when you start seeing these sold commercially and in pretty visable places then you might get past forum hype.

[quote name='Marvin' post='1316190' date='Jul 25 2011, 08:16 PM']I think it's more a matter of cost. To make a box like that of Bill's design is probably not cost effective for mass production. I've had a stab at it (my wood work wasn't up to scratch) and a good friend of mine on here has made one. The actual making of the 'box' is quite involved. Are they better boxes? Well, my friend built a Jack12 and he said it blew the arse off his 4x10. The cabinet design was that efficient. I have no personal experience though. Why don't we get 4x10's stacked vertically? Probably because as consumers we are very conservative and would rather it looked nice rather than worked effectively. Major manufacturers would loose a lot of margin to make cabs like the designs of Bill and Alex. One may like to compare the whole issue to when James Dyson was getting nowhere with his 'cyclone' vacuum cleaner. Now everyone makes one.[/quote] Or....the marketing and suchlike is poor...?? If companies can't get presentation right, then you might wonder about the credence of the rest of the stuff.

[quote name='Marvin' post='1316071' date='Jul 25 2011, 06:41 PM']I always read what Bill and Alex have to say on cab design. Their criticisms seem to be aimed at manufacturers who want their target customer to think they are getting a truly engineered product when it isn't, especially high end gear. Most mass manufactured cabs are simply constructed boxes with drivers in them with little or no acoustic engineering involved in it's design.[/quote] But, of course, the insinutation is that they'd make a better box. But the only people buying that argument are some people on sites like these. No one else seems to be buying their product. You don't see their kit out in the real world so maybe their argument hasn't reached there..or people don't fancy the product.

[quote name='lobematt' post='1315977' date='Jul 25 2011, 05:25 PM']Yeah by session I don't mean just studio, I basically mean people calling me up wanting to give me money to play my bass! Which I know is far down the road and very hard to come by but I know it's not impossible.[/quote] ok..this is dep work territory..and again..you need to network and get asked. You can put yourself out there but this sort of contact can takes a long time to work its way through to getting dates.

[quote name='lobematt' post='1315779' date='Jul 25 2011, 02:45 PM']I'm in the process of putting together a musicians CV complete with demos, youtube links etc, with a view to get some session work out of it. My question is though, who would I be best off sending it too? Would it be labels, management companies, studios, all of the above or someone else entirely? Cheers![/quote] Nope..it is ALL about who you know. You don't ask to do sessions, you get asked. And if they think you will fit then ok. Getting friendly with your local studio is ok..but you'll only get the odd job out of it, when a songwriter comes in and decides he wants real bass on the track. Recording a real song with a real band needs a decent budget and those days have gone to large degree. Of course, if you can make the jump to work that pays triple scale, then you will have done very well indeed..but those chairs are really REALLY sought after and even more-so affected by who/what circle you move in.

[quote name='andydye' post='1315623' date='Jul 25 2011, 12:32 PM']so, having dithered around variations on the theme and listened to the noise barefaced are making around this forum just now it's gonna be a Shuttle 9.0 and a Midget-T. Thanks for your help gents![/quote] Take info on forums with a pinch of salt. Only you can really say whether a certain cab will or will not work..and then only when you have it and have played through it in the circumstances you need it most in. You might find there are as many discenters as there are fans for cab A or B... or amp Y or Z There is plenty of stuff on here and other places about plenty of kit...you just need to do some research. There might well be stuff that is hyped up on here that is only known about on here because the makers of that kit only sell on here. It can be an easy market as well.

I think it is a gimmicky thing... and more of a treble/presense cut so why the fancy name, I am not sure. Potentially a great set-up with the RS cabs though, IMLE.

It's an experience thing.

hmmm they probably wouldn't bother assuming they even could....and that is the situation the manufacturers would like. IMO It keeps the service in house, gets a virtual monopoly by stealth etc ect... It puts me off these small amps.. even though I was very impressed with the RH750

Chris...let me hear this DB359 if you are thinking of selling

Do you have a a problem hearing your rig..? can you hear the difference and do you care to the extent of accomodating a vertical stack.. You need to answer yes to at least one..and then you can start worrying

[quote name='rmshaw37' post='1314569' date='Jul 24 2011, 11:15 AM']was going to start a new thread but this fits perfectly! what would be the general concensus of sound engineers actually ALLOWING bass cabs to be miked? i really noticed last night how the pa out front sounded not a lot like my stage sound! mind you, i used different settings to usual attempting to get a borrowed trace elliot cab to sound anywhere near good! much the same effect with my ampeg 115 and 210, but to a lesser extent though. and yes, i would LOVE to roll up to a gig with my sansamps and wireless, but i cant see me being able to do that until I am the one calling the shots! lol (putting the drummer in a fish bowl to start with!)[/quote] Engrs like DI for bass so you should have an amp that can do pre and post balanced outs to the board...you then choose which mix to send and use to FOH. I can't see the point of mic'ing over DI for bass as the above should cater for that mix.

It's funny..in London, you'll find the cost of a decent P.A hired-in will probably wipe out the band getting a fee. My last 3 gigs ( not in London) have all had decent stages and P.A supplied but only one really worked well on stage even though we were promised 4 mixes. Time was the enemy of one..and this is a sad fact with changeover, so I need a good backline then..and I didn't really have it as the supplied kit wasn't the standard or volume of mine. To be brutal here...I have been told by a few companies that supplied gear is top quality..and lo and behold, it isn't. The best guys we had... were pretty sorted out front but needed me to have my rig loud on stage, and the third was only saved by me having a rig that could do out front even though we played to 3000 or so people. That rig was inadequate and the guy was nice but clueless which made things worse, and we decided to salvage the mix but playing to the front rows. The occasion allowed for a whole lot of the hall/barn to not be quite so involved in the music. We go a for a good stage volume and the drummer is loud so we need a backline to cope with this. I wouldn't be at the mercy of any monitor mix ( no chance ) unless I knew the guys well and had used them with success before. Things break down and lines get confused in the mayhem..and sound-checks can be little more than line-checks..and this is not adequate IMV. It may be a fact of life, but you can help yourself...so I'll take a 500w plus rig that can do the job. If I don't need that power then you can turn down. If the stage sound is carp...then that can impact on the performance so why would you put this at risk with poor monitoring.