JTUK

Not that this guy will go down a NEO or class D route as his market is more the top end. And those guys are ANAL. ( we did talk about those issues ) He knows he will be able to satisfy them with a drivey 12" combo or small separates as he doesn't need massive power so his weight issues are also served by not having to have a heavy chassis and transformers.. This is just fortunate in its design that he can build small but even if it wasn't the gtr would still then resort to an old Marshall and 212 or 412.. Their driver is tone first and foremost and they aren't going to divert from that. Some bass players HAVE to consider weight as the primary concern altho just from memory from past threads on here...probably over 90% of them say they'd have a valve fridge type set-up if someone else rigged it. So, that to me, points to weight being the number one factor over ultimate tone which is not something many serious Gtrs would contemplate. Me..I have both. a lightweight rig which is acceptable and a bit more, IMO,..but when the discerning gig comes out, so does the full fat-full beans rig. And when I hire out, the same applies..!!

Only read the OP but I don't know how you guys work like this. Tell the 'dick'; to shut the **** up as you are there to work and sort things and that sort of environment is just not conducive to doing that, IMO. Same at gigs really..you have 5 mins to get your sound checked and then everyone is silent until you go on. Unless there are technical problems, it really shouldn't be any other way... I couldn't really watch or listen to bands that don't know when to shut up...be it drummers, bass players or whatever. You should know what you are going to do and all you want to check is your sounds.. that's it. As for rehearsals...they aren't for learning individual parts, IMO... they are for learning band parts so whilst it may happen if the player just hasn't had time..it should NOT happen at every rehearsal as that goes to an unprepared and selfish player, IMO.

Never really worry about it as long as it is a good song. If you play it well and it sits with the others, it will work. We used to do Good Souls and another couple of Starsailor songs and we also found Chrissie Hind's 'middle of the road' got them started ...and we'd never put that later than 3rd song in the set. Life during wartime as well... as it was so dancey. I don't recall many gigs where we didn't do it and everyone danced...but I doubt more than a couple of people ever knew the song..

Mine is not loud... and I'd say it runs out of steam at around 6/7 on the dial. No drive engaged.

I ran one in my tests @ BassGear but not entirely sure of the model now. I liked it but had a lot of cabs and configs to get thru so didn't pay too much attention to 15" and I knew I wanted the S112' which are lovely Vintage vibey cabs, IMO. I wouldn't suggest just the one tho..always two. These things don't need a tweeter, but I have them anyway... 2xTKS S112's I can recommend..and certainly with a vintage tone type amp like the TH500 or PF500. They weight nothing...10kgs...but two of them would be an expensive way to go about things.. I agree that Epifanis can be too pillowey. The Berg VN115 might do your job but since they are ceramic, they'll probably be a heavier cab. I've also liked the PF115 but that means all your eggs in the Ampeg basket..?? I just think Aguilar do it better these days

I'd PM Wot or Walbass about their TKS 115 expereiences... The S112 is definitely vintagey, IMO... not sure if that is a goal of the 115's tho.. There might even be a TKS 115 for sale...

I'd love to be a country/americana band... if only I could find a girl to sing like Wynonna, Martina McB, Shelby Lynne..or rather who looked like her I think it could be a real kick **** band and get lots of work. It is a project on the back burner for now..

Was talking to an amp designer about this very thing yesterday... I relayed a few 'observations' from 'bass world' and he took on board a few things abouts cab as they/he don't market them as yet. But he was most interested in the class D thing and he obviously speaks to other amp makers and the conclusion was that marketing plays a huge part in all this. That, in itself, doesn't make it bad but you get what the driver is. Whether that is right in the pursuit of sound is down to the individual but his market is gtrs and he doesn't think they will be led by it. They all want lighter weight but not at the expense of their sound. I wouldn't have to tell him, but gtrs in general are far more discerning and knowledgable and anal than your average bass player about sound. In fact the bass player may well be lower down that chain than all the other muso's in the band... even than drummers..!! and IME...I'd agree with that.

The TH is a very good sounding amp... My concern is that it doesn't amp too well.... Jury is still out for me in regards to this but I'm going to do some serious AB'ing in a few weeks whilst I have 4 amps to mess around with. I've run a TH500 thru a DB cab and it did ok... but nowhere in the same league as the DB750 thru the same cab...even if the tone was there or thereabouts. The TH500 can't do what a Thunderfunk can do, for examp[e....even though the TH500 might be the nicer sounding amp. Having said that, the TH is very nice thru TKS S112's ...so it would be something you should try..

Did Jaffers do the drums?

It's a simple and tangible difference. I've got both and whilst both put out good sounds IMO, there is sound and then there is sound. Maybe it doesn't matter at the Dog and Duck and the reasons are understandable but you can guess which gets the rave reviews from bass players and most of them wouldn't recognise the gear in itself so the comments aren't because they see/hear... they just hear and feel. The other pointer is drummers... and the comment ratio is the about the same.

If you can hear it, its a problem but if you can't, you can't.

Buying or selling, Gilles is always great to deal with. Very good comms and very prompt in doing what he says he will do.

[quote name='lonestar' timestamp='1437159366' post='2824166'] Whats up with the traveller cabs ? Thinking of adding one to my cmd210p [/quote] Try them side by side with their standard range

Don't think you want sub for bass.... and I'm not sure you'll like such a clinical signla for the bass itself. I'd say no..with a capital N, but it might depend on the cab. Definitely not composite though so where does that leave you..?? you'll be paying £8-900 for a decent wooden bass cab..altho you might get active for that. Then you'll need a decent pre and you've spent a lot of money for marginal, if any, gains, IMO. I did run a 4550 K140 with tops once and thought the sound quite flattering at the time... but you learn from those type of mistakes.

[quote name='Sparky Mark' timestamp='1437142824' post='2823997'] As you already have a LM2 why not just get either a 210 or 112 Markbass cab? [/quote] And when it gets loud again...or you need to, just add another cab of the same MB spec. Possibly be wary of the Traveller cabs...??

Loud gig, 212 over 210. 2x112 is better as modular, but the expensive way to go about it. Best buys recently, IMO the 2 Baers and the 2 Bergs but still looking at in excess of £700 the pr. That brings a LOT of 212 into the frame as should be well under that... Second hand, of course, but might be on casters...but tip the scales at 60lbs approx. NEO will bring that weight down a bit. Throw this into the hat... check out the TKS cab in the F/S..?

Maybe OT but since our pensions system is wrecked and the current generation will likely be amongst the last to enjoy decent living into retirement...depending on your pension, of course, And depending on what your standards need to be but I wont need to work very hard when I retire to make ends meet because I wont have a £1k a month going out in rent. The old age time bomb as is can not be sustained so altho many pensioners are reasonably well off at the moment, I can't see it lasting. This is why the Government HAS to help people buy their homes as they will need that capital asset to pay for their care. The housing benefit bill is huge and people are living longer... and it is when you consider economics like that, that you know the system is bust ... IMO. Time for another topic.

The only thing is be realistic about how much money you'll likely earn and what you want.. By the time you are 30, 10 years in a dull old job might reap other dividends and be a completely different job. Music has always been about how good you are or how lucky you are if you want to make waves. I know some very talented players and most can't afford a mortgage.... and the one thing you want, IMO..30 years down the line is a paid-off mortgage.. I think you can try it for a couple of years but mostly these opportunities come to you rather than you finding them..? I'm not sure you can just decide to do it..and it will happen.

[quote name='landwomble' timestamp='1436907675' post='2822018'] Just to agree with points above - when you're playing loud and live and need to hear yourself or feel you need more bottom end - turn up the MIDS, not the bass... [/quote] First you have the learn to play with them.... which is why a lot of bass players have a bassy tone, let along new starters. Bass in their friend but it isn't a very interesting sound...and too much is a brutal tone killer, IMO

Have you not had any feedback from venues and /or punters..? If not I find that strange. Also, drums number one enemy is the snare in my opinion and if it is that loud, it is likely to overbalance the kit. I'd record the gig or rehearsal and see if the drums are too loud. They may well be, but if the mix is ok-ish, then the other players are likely matching him as well ..and that is not good either.

[quote name='Naetharu' timestamp='1436893641' post='2821824'] Fantastic advice here folks, thank you so much! Just a quick question about the compressor - I notice that quite a few of you are saying leave it out for now. The reason that I have it is that I play a few songs that have a mixture of slap and finger-style, and I play with a pretty light touch. I was using the compressor to even out the dynamics a little so that I don't have really quiet finger-style playing nor massive booms when it comes to slaps/pops. Will using the compressor for this purpose make it considerably harder to get an easy tone? many thanks again James [/quote] First, I'm not a fan of compressors on my signal but you'll want to have the slap style number jump out during a track as it is easily buried anyway... and if you are going to do it you'll want to hear it. Next time you watch a band see how easy it can be to lose a slap line under everything else . It is for the most part a featured thing anyway so you want it to come thru and if you are playing more of a riffy type part, just back off on how hard you pop the strings. You should be aiming for this sort of control and nuance anyway, longer term, IMO.

You can't get there unless you know where 'there's is that you are trying to get too. Many bass players never solve this which is why they are constantly trying out things and hope they'll will luck out. They are the ones that will take a phone pic of their settings, most likely as if they were to lose them, they don't know how to get them back. I'd agree with leaving out the compressor and i'd also suggest you EQ one thing at a time to make sure you know what that actually does. It is ok-ish having someone else's sound as a reference but this could be futile as you may not play like that guy. Also agree with 12 'o clock on the dials and working thru systematically from the treble down. Beware of filters or enhancers as these are internal maps or pre shapes.. as these alone are very powerful tone shaping devices. If poss, switch them off...and only bring them into play to tweak after you are almost there on the amp. Otherwise these confuse. You are going to need to put time into understanding what you are doing and what tone control affects what and build an idea of what frequencies constitute your sound. This can takes eons and some bass players never really get it, so don't worry if you don't understand it all... it is a work in progress. As you get better, you will use less bass and want more character in your tone.

If your band gets the opportunity then do it... before 'life' gets in the way and you can't. But...touring is not all glamorous and of course that depends on the level of your band. Some people refer to a tour as setting up a few dates and driving to them but to my mind a tour is when a promoter has booked you, runs the tour and you have wages, exes and accomodation sorted. That way a nightly gig fee, or weekly wage/contract is tangible and you would expect to bring some money home for your efforts. Driving round Europe is tiring though so you want to be as comfortable and rested as possible..you may be on the road for 10 hrs and you still have to do the gig until late and have to be on the road again by 9:00 latest to do it all again... and again. Dossing on 'friends' floors is not touring in my view but if you think that is where you want to start from and get the thing out of your system, then go for it. You'll have a load of stories and experiences from it, if nothing else, and you wont be able to afford to do it if you're settled down and have a mortgage and kids to pay for....

Toto