JAC Posted March 9, 2015 Share Posted March 9, 2015 Firstly I would like to say hi! Apart from one post I made in the classifieds, this is my first post on here, although I have read a lot. I was wondering if you guys could help me out, as I can't decide, and I have nowhere to test any of the cabs I am contemplating, so my purchase will be made online. I will try to explain my situation in detail, so please forgive me if this turns into a long post. Currently I have a GK M112 (1st generation) that I use for home practice and quiet jams, rehearsals etc. My large rig is a Zoom B3 running into a Crest CA6 or QSC CX302 (or larger). For cabs I use an EAW 15" sub plus an EAW 6.5" mids with 1.5" tweeter. I use a BSS soundweb as a crossover, and with this setup I get 450W into the sub (which can cover 27Hz to 300Hz) and 200W into the mids and highs (which can cover 80Hz up to 20kHz). I usually crossover around 100Hz, but lately have been playing around with different xover points, and the sub runs fine up to 300Hz. I have a second identical rig (EAW sub + mids/highs), and when I really need a lot of power, I can sum all of this up, using a couple of power amps, and get 2000W for lows and 700W for highs/mids. My issue is the spot in between! My GK combo is not loud enough for some of the rehearsals we do (mainy outdoor rehearsals as I am in Spain), and the EAW rig is overkill for this (especially in weight >100kg!). I am looking for a cab that would give me more than the GK combo for rehearsals, and I could also use with my 15" sub when needed, biamping and crossing over between 100Hz to 300Hz depending on what sounds best. Which means I place more importance on clear mids and highs than ultra low bass. Ok, thats the background, now the cabs I am contemplating are the following: Gallien Krueger CX210 Fender Rumble V3 210 Ashdown Rootmaster 210 Ashdown Rootmaster 212 Let me also add that my aim is to replace my "oversized" rig with Barefaced sometime in the future, but I have a ton of PA stuff I need to sell first, so it will not be in the near future, but I don't wnat to spend a fortune on a cab now that I will be using for a year max (I hope). I play al kinds of music, depending on the band, but mainly I play blues, reggae, hip hop, some dub etc. although I am starting a new venture that is kind of rock/metal/rap (think "From Ashes to New"). Can anyone give me any suggestions on the cabs I mentioned, or any other thing you may think fits the bill. Thank you all kindly! Quote Link to comment Share on other sites More sharing options...
JTUK Posted March 10, 2015 Share Posted March 10, 2015 Firstly, ditch the idea of a P.A sub rig for bass monitoring. A rig of that power is going to have a FOH P.A as well and you are getting into a fight with FOH which nobody will want you to do. The main point tho...can the GK combo take an ext cab? If it can, there is you cheapest 'upgrade. I'd hook it upto another GK 112... Basically this will give you a mini rig running at 4 ohms and max output. If the combo can't take an extention then get one that can and look to get 500w or thereabouts into 4 with an ext cab at some point. If it must be a combo, I'd go 102 Markbass and that can do powerful gigs on its on with sensible gtrs... i,e 30watter Valve job types. The 102 should just about...be able to keep up with that, IMO. Add another 210 and you are sorted for mini stage gigs, IMV. Quote Link to comment Share on other sites More sharing options...
JAC Posted March 10, 2015 Author Share Posted March 10, 2015 (edited) Thanks JTUK for your input. Just to clarify, I am not interested in a combo, just a cab, to use with one of my current amplfiers. As for ditching the PA rig... I only use that kind of power when I need it. I also have plenty of PA to use for the FOH, and when we use FOH, I obviously set up my rig to not interfere. What I am looking for is a 210 (or 212) cab, around the 250 to 400W mark, which I can use for smaller gigs, loud practices (when I don't need my full rig) and loudish Jams. I am interested in the mids and highs of the cab because, when I need the power, I will use it with my current rig instead of the EAWs, so it would be covering the 250Hz mark upwards. Thanks again. (BTW, no the GK can't take an external cab). Edited March 10, 2015 by JAC Quote Link to comment Share on other sites More sharing options...
JTUK Posted March 10, 2015 Share Posted March 10, 2015 Not a fan myself of a single 210 cab but they should do a quieter gig on their own with no trouble. A 212 will be pretty much all you need until you get into good stage monitoring anyway. I'd put up Aguilar DB, Berg CN and the TKS range as the cabs I'd seek out. I'd tried them all and I think cabs stop there, pretty much. Quote Link to comment Share on other sites More sharing options...
machinehead Posted March 11, 2015 Share Posted March 11, 2015 [quote name='JTUK' timestamp='1426029210' post='2713707'] I'd put up Aguilar DB, Berg CN and the TKS range as the cabs I'd seek out. I'd tried them all and I think cabs stop there, pretty much. [/quote] Are you saying that these are the only decent cabs and [i]everything[/i] else is not worth considering? And this part :"A 212 will be pretty much all you need until you get into good stage monitoring anyway." I am completely at a loss to understand. There must be a whole world of gigging out there that I have yet to experience. I played the Ulster Hall in Belfast with a Peavey 15" combo at least a dozen times back in the 1980s with no problem. Frank. Quote Link to comment Share on other sites More sharing options...
JTUK Posted March 11, 2015 Share Posted March 11, 2015 [quote name='machinehead' timestamp='1426032483' post='2713727'] Are you saying that these are the only decent cabs and [i]everything[/i] else is not worth considering? And this part :"A 212 will be pretty much all you need until you get into good stage monitoring anyway." I am completely at a loss to understand. There must be a whole world of gigging out there that I have yet to experience. I played the Ulster Hall in Belfast with a Peavey 15" combo at least a dozen times back in the 1980s with no problem. Frank. [/quote] I'm saying you wont get past those, IMO.. A 212 will do most of our gigs unless you play larger stages. Whether you can justify having a 810 depends on how many times a year you'll get to take it out...?? A PV 15 back then might have been what you thought you needed or the only cab you had for a stage We all used them and I recall them as being woefully underpowered for what they were asked to do. If you thought they were adequate back then, then sure, we have different opinions on that and sound. The BW was a dogged unit, sure enough but I see the same thinking now, only it is 12" combos and the like.. From my experience that is not a discerning sound in that theatre. Quote Link to comment Share on other sites More sharing options...
machinehead Posted March 11, 2015 Share Posted March 11, 2015 Only slightly off topic - I think I see where you're coming from but I still see it differently. I did a festival last year using a pair of 4 x 10 Ampegs with a stage monitor engineer and came to the conclusion that I could have easily carried it off with a decent 1 x 12 or 2 x 10 and would still have sounded good on stage and obviously out front too. All you really have to do is keep up with the drummers stage volume. The older I get the more I believe that loud stage volumes kill good playing. Still, an 8 x 10 is good for the ego. Frank. Quote Link to comment Share on other sites More sharing options...
JTUK Posted March 11, 2015 Share Posted March 11, 2015 As always, it is ok assuming that a good P.A will have good fills and monitoring but unless you spec the rider, you'll likely not find this out until too late. Generally, I assume the worse unless there is a monitor engr...and the worse ranges from vox only wedges..which means your backline better support the stage sound.. or less worse, the FOH engr running the monitor mix. If he has his ears on the FOH, then the sacrifice can well be the mon mix. All these are degrees of a compromise but I'm not best pleased when I have to accept it sounded ok out front.. when I struggled to make it work on stage. How is that helping the band play well as a band..when you can't hear properly..? I try and take that 'reasoning' out of the equation and look after my job which is laying it down for the band to hear... If I have to turn down, then that is easy to do. If I have to flatten the amp to squeeze out enough to be heard, that is a pile of poo, IMO. And that is just the P.A kit side of things... then you have to deal with sound engrs. Another maxim is if you find a good one, then keep his number as they aren't as numerous as you'd hope.. All the gear and no idea applies to them as much as anyone else There are a few companies round here who supply decent spec... but sub in the sound man..?? and that can be fraught..IME.. Quote Link to comment Share on other sites More sharing options...
machinehead Posted March 11, 2015 Share Posted March 11, 2015 If you ever have a gig in N. Ireland, (or anywhere in the world if you've got the money) this is the company to go for. They are brilliant. http://www.niavac.com/ They have done sound for all the big names, right up to the Rollin Stones and my band. Frank. Quote Link to comment Share on other sites More sharing options...
.gif.9ad672bb8b84505709f76b39c8c256ec.gif)
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.