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  1. Cheers for that Jack... I hope to use this as a permanent solution to up-volume my on-stage sound in the very rare occasions that I need to connect to both desk AND a stage stack! Tube warmth is new to me, as an ex-TE, GK, Hartke & current TC solid-state user. I do find the BG250-210 is normally a perfect, non back-breaking way to get a decent on-stage quality & volume of sound. Sometimes, circumstances just need you to uprate tho. But, this is a cheap way to experiment the theory 😊.
  2. Happy Xmas to you and thanks for your much-appreciated input (no pun intended!). Yes, my further research clarified this - so between the D120 D.I.'s output and the input of the power amp, I'm planning to install a Behringer Ultragain MIC100 preamp. I believe that with it's variable controls, this should allow me to overcome those signal losses? Many thanks, Mark.
  3. Agree, but the entire reason I bought the BG250 was that it had no effects loops, no line outs, an inbuilt tuner, no extension cabinet i.e. all I wanted in just one box. Having done a bit more reading, I'm almost certainly gonna get the D120 to allow post-fade export of the tone-shaped signal to both the desk and that power amp at the same time. LIght, quick simple and it'll cost me less than £20 from Amazon to do this - I already have top-grade mic leads from when I used to do the P.A. for my old band too. Am gonna skip the TR3M altogether.
  4. @Jack- thanks so much for your reply - sorry, didn't mean to ride in on the coat tails, but it did seem a similar issue - apologies to all; no offence intended! Thanks for your suggestions: 1). yep, 1st. thing is to try the combo's D.I. out straight in the power amp's input - if that works, I can split the D.I. out using something as inexpensive as a Behringer Ultra-DI D120 to feed mic level to both desk & power amp simultaneously. 2). sadly, that aux input option doesn't fly at the venue I'll be playing; I have to sort this out locally on the stage. 3). never knew that such mic level-line level units existed - I'll check out your suggestions, thank you! Finally, a thought. I have an old (1993), but fully-working DOD TR3M effects pedal, which has stereo TS jack outputs on it. I could plug the bass into that, then send the link-through branch into the combo, feeding the other directly into the power amp. That way, I could firstly add one of these MIC100 units to that branch. Sensible or hogwash...?!
  5. Related question (if I may) to the many, many minds greater than mine! I've a TC Electronic BG250-210 combo, with a pre/post switchable D.I. output built-in. Normally, that feeds the FOH mixer only, with me using the combo's speakers as my onstage backline. Big gig next year, in which I need much more on-stage volume (TWO drummers!). I've no other preamp signal output or extension cab options within that combo. My thought is to feed the combo's inbuilt D.I. output, as the single input to a Behringer Ultra-DI D120 active 1 in-to-2 out D.I. box. Effectively, to use the tonal set-up from the BG250, to input into a power amp. I plan to connect one channel of the D120 via an output mic lead into the mixer. The other channel's output would link a mic lead into the parallel-mode input of a spare Cerwin-Vega! CV-2800 P.A. power amp that I have. That power amp puts out 600W. continuous, per channel @ 8 Ohms. I'm going to hook up two 8 Ohm bass guitar cabs, one per channel. The cab's are: 1). a JBL 1x15" loaded with a 600W. continuous Eminence Kappa speaker. 2). an Ashdown 4x10", giving a total continuous power handling capacity of 600W. Question please - is this feasible? Will a D.I. box's output have sufficient sensitivity to "drive" the input of this typical stereo P.A. power amp, or would I need to insert some other form of preamp into the signal chain? Thanks in advance for any advice or help you can give and may I wish you all as happy a Christmas as possible in the current circumstances!
  6. Hi - they are (all about to be put For Sale too!): Peavey 410 TX (350W.) Ashdown ABM 410H & an unknown JBL "deep" cab fitted with an Eminence Kappa-15LFA. P.S. - my mistake as the latter two are each 600 Watts continuous! I've downsized to a TC Electronic BG250-210 for all my gigging work, but feel I should look at a light amp for the Peavey 410 TX, as a back up. I put castors on that cab so it is more manageable. I remember now I used to use a Cerwin-Vega CV-2800 to drive the Ashdown + JBL as a ridiculous 1200 Watt @ 4 Ohm stack. Various tonal preamps used. Am getting old, love the new technology and simply can't lift those big boxes any more LOL!
  7. Hi - I'm seeking your help and suggestions for a lightweight-type amp head please. I'm looking for something kicking out between 500-800 Watts continuous (R.M.S.) power rating at specifically 8 Ohms impedance. Just to drive any one of my three cabs at a time; each of those is 8 Ohm and has a continuous power rating of between 350-400 Watts. Small size light weight and portability is everything here - can you help? Thanks.
  8. Hi all - I'm looking for some help on the Gould brand of budget-price basses please - any help much appreciated! I can't find a website for them; closest was the other end of the spectrum G. Gould masterpieces. I called Chase Direct in Manchester, enquiring with them but some gormless shop assistant didn't even know that the shop he works in was selling them... I turn to my far more knowledgable fellow Basschatters for your guidance please... Thanks, Mark.
  9. FYI - bought the 4-string RBN Neo. AWESOME volume from those passive PUPS, best customer service & support from any importer ever (Sutherland). Action was slinky when I got it with roundwounds on it; now restrung with flats and this is now the lowest, fastest bass I own, as well as the prettiest. N.B. - the PUPS were so loud & clear (no electrical noise / problems here) I had to lower them into the body a wee bit. The pole pieces are the most magnetic I've seen and they easily bend the string if too close. £299 very well spent - never been tempted by any Fender / Squier "original"....all I've tried have been...erm....somewhat unpleasant. P.S. - the tirelessly helpful product manager, Kev Lee, did confirm that their website is somewhat out-of-date; the RBN 4-string now ships exactly as the image of the RBN 5, namely painted-as-per-body headstock, block fingerboard inlays & the gorgeous paint job on the body. BTW, the neck joint is 4-bolted on.
  10. Interesting you mentioned Picato flatwounds Chris. First thing I did when I got the Ibanez SR fretless was slap a set of the 40-95 Picato stainless steel flatwounds on. Was done because as I use Picato 40-95 roundwound nickels as my standard on most of my other basses. Sad to say, I HATED them, hence trying something else (namely Adagios & Olympia). The Picatos sounded particularly dull, felt tacky and were taken off promptly...probably too quickly as I didn't bother giving them a chance to break in. So, current flatwound experiments are Adagio 45-100 on the fretless Ibanez SR & Olympia 45-100 on a fretted Revelation RBN j-bass...hope these work better!
  11. Hello - any help here much appreciated please! Looking for recommendations for a lightweight hard bass case, to snugly fit my G&L L-2000 4-string P-bass style bodied fave. I was shocked to find that my Hiscox EBS-STD Liteflite case fits J-bass bodied basses a treat, but NOT either the G&L, or my similar-bodied Hohner Rockwood Pro RP150B. There;s quite a gap around the lower bout top & bottom edges. So, any thoughts please? P.S. - am not looking for gigbags, thank you. Also, any piccies of your Precision-bodied axe sitting in its hard case would be very welcome please...
  12. I'd be interested to know how you get on with these, as I fancy those for my fretless Ibanez SR...
  13. Yeah sorry...Ernie Ball Cobalts is what I meant - I'd previously used their Group IVs with pleasing results. YouTube a shootout vs. other flats and you'll hear the difference.
  14. Well I'm trying those Adagios / Olympias flats on a fretted Revelation RBN J-style but for my fretless Ibanez, I plan to go D'Addario cobalt flatwound slinkys....they are nice and loud!
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