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Best D class amp for my P bass ... please read on it's more complicated!


Mr Fudge
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Thanks everyone. Some excellent advice. In some ways I'm probably my own worse enemy as I split my Bergs either side of the stage and my bass out put would be optimised if my ears were next to my knees. However if I want my ears to grafted onto my knees I'm probably on the wrong website and outside my budget.

I will try stacking and perhaps reducing output through the amp and putting some into the full PA. I do use a wireless system and when I hear the P mix with the rest of the band it blows the Jazz out of the water. It's just what I hear on stage.

In ear monitoring is probably an essential long term consideration for all of us, added to just acclimatising to my P with more gigs.

I use Ernie 🏀 105s and play finger style with a lot of attack. Might still go bigger amp wise as the stats around the TC RH450 have shocked me but also answered a few questions.

Thanks again

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Guest bassman7755

[quote name='Mr Fudge' timestamp='1479421158' post='3176503']
In some ways I'm probably my own worse enemy as I split my Bergs either side of the stage
[/quote]

Theres really no point in doing this, by the time your bass sound gets off of the stage the audience cant tell where it comes from.

As others have said , any loss of clarity later in the gig is definitely your ears getting fatigued and not the amp.

Edited by bassman7755
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I'd agree that splitting the bass cabs across the stage isn't a good idea if you want to get the best sound for your bass.

Edit: There is no upside to your cab placement and as you are finding out there are a few downsides. Both 12's stacked behind you will probably fix the problem for you and the rest of the band and the audience will still be able to hear every note.

Edited by chris_b
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I had a similar problem with my Ashdown RM420 (D class!) amp not making the best of my natural p-bass sound, and getting lost in the mix; so I spent £24 on a Behringer BDI 21 modeller and the difference is immense. Really adds tone. I was quite shocked what a difference such a low investment would make. Certainly worth a go at this price I would say.

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  • 2 weeks later...

Very interesting coming back to this thread a few weeks later and two or three gigs later. I have still been splitting my Bergs in the hope that it will give a better all round sound. I probably play on a stage only 5/10 gigs so it's something I do to crate my own PA effect. It's sounds like this may be misguided?

I ginger my Jazz and my ears retuned very quickly to my old sound. However I can't put my P down and it's become number 1 so I really want to make it work.

I gifted the P again last night and it was the best sound I think I've had. I tweeked the tweeters on the back of my Bergs and it sharpened up the tone. For about 20 minutes in the second half the tone just sat beautifully and then ear fatigue set in and I struggled a bit. I think the ear plugs are worth a go here.

I continue to look at amps and some of the Orange stuff has interested me, notably the 4 stroke. The mesa class D still continues to get good reviews. Orange or Mesa?


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Interesting. I've had problems feeling like I'm getting lost in the mix with my 5 piece band. I was using a class D mini amp and I found the power stage was clipping because I was pushing it so hard.

Basically the drummer is very 'committed' in his playing and the lead guitar raises their volume to compete. The singer, rhythm guitarist and myself kinda get lost. I tend to use my ACG J5 with an East pre but on switching to my SR5 HH it was worse. I play with the low mids high and the best bass is my ACG Uber spec Finn.

I've gone back to a class A/B amp (Markbass LMII) and I've decided to wear my motorcycle moulded ear plugs as 46+ years of motorcycling have caused much damage.

Raising the cab is a good idea. maybe get the drummer to damp his bass drum would be a good place to start too, and get the lead to raise his tone a bit. We'll see.

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