Sparky Mark

I've just started a new thread asking about Rickenbacker playing preference in the Bass Guitars forum and would appreciate your opinions. Cheers.

I find playing Rickenbackers with fingers more comfortable than with a pick due to the lack of forearm contour, even on the S models. However, I much prefer the sound with a pick so adapt my playing to suit even though it's out of my comfort zone. I'd be interested to know whether other BC'ers have a preference?

Here's mine again. Any more out there?

Maybe it's because the CMD121P combo might be Markbass biggest seller but the majority of these tales relate to that particular product. In fact the only Markbass product that broke down on me was the combo 2 head in my CMD121P. I have a suspicion that vibration of the head in its vertical orientation may subject certain components (or solder joints) to unforeseen stresses. Mine suffered a cracked solder joint on the speaker output connector and latterly a failed pre amp board.

I love this film of the history behind the British valve industry. It also shows how they're made in detail. https://youtu.be/GDvF89Bh27Y

Perhaps a Stonehenge stack of three TE 2x8 cabs ?

Ashdown are in Heybridge, Essex; not so far from Trace Elliot's old Maldon site.

In your situation I'd seriously consider retiring your faulty combo head and replacing it with a good condition, newer second-hand LM series head. As the CMD121H has a single 12 speaker I doubt that you are putting the full potential at 8 ohms of 300 watts through it? So you could also buy a brand new LM250 Black for approximately £200 with full warranty that can output 150 watts with likely more than enough power to drive the combo speaker to its limit.

LM2 and LM3 had same frequency points for their EQ sections. The high EQ control actually boosts and cuts a range of frequencies, not just 10kHz, which I can hear make a clear difference even on my non tweeter cabs.

Is the hard case the original Trace Elliot one? Perhaps you could treat us to some TE photo porn?

Is it the rack mounting version? Cheers.

The Series 6 came after the Mk V. The SMX came after the Series 6. Yours is clearly Mk V as it says on the front panel.

Don't fall into the trap of thinking that driver diameter defines a cab's low end response. In my experience Bergantino HD210 cabs have incredible low end extension. The ABM600 has real "heft" to its low end that decent cabs can reproduce and the 4 ohm SVT212AV sounds like a great partner; enjoy the trouser flapping. (-:

This is definitely precisely parallel..

Hofner violins are as close to parallel as you'll find.

Why not pay to use the Basschat Marketplace (if you haven't already of course)? Items Wanted and the Other Musical Items for sale/exchange could be your friend. Lots of bassists dabble with guitar too. I wouldn't go near ebay or gumtree but Basschat is a friendly community (mostly!) and you can trust the member's feedback too.

Perfect, thank you. Totally agree.

Please read Bill Fitzmaurice's post a little further back in this thread. This isn't a contentious point.

The bottom line is that an amplifier capable of delivering 440 watts at 4 ohms (possibly 800 watts peak) is capable of damaging a 4 ohm cab with a thermal rating of 300 watts if you ignore signs of the speaker being driven too hard.

A generalisation is that sealed enclosures have a more contolled/attenuated low end response. It's a characteristic that can mean sealed cabs are a good partner with amps with a lower damping factor, such as valve amps. The most famous example being the Ampeg SVT and its 810.

I respectfully disagree. Most reputable amplifier manufacturers publish RMS continuous power ratings for their products. Behringer is famous for using Peak outputs but it is in the minority.

No. If the cab is 4 ohms the amp is capable of delivering 440 watts into it if you increase the amp's output control enough. Just be careful and listen for the cab farting out as you increase the volume.

Talking of bad habits; I sometimes "pat" the strings with my plucking hand in time with the rhythm which can result in a percussive click. Never a problem live but upset the drummer on a recent recording session where he wondered where the extra taps were coming from.

Does this help? https://chordify.net/chords/terry-reid-songs/the-frame-chords