Lozz196

Just reviving this thread as I used a TC Electronic BH250 last night (no longer got the one I wrote about previously). It was plugged in to some form of 610 cab, and again I was really impressed with the amount of sound available. I`m not that keen on bass in my monitors, so the BH250 was having to cover stage volume and on a pretty big stage I had the master volume on about 10 o`clock.OK I use my Para Driver for all my eq, but the volume available from that little amp was pretty impressive.

Yep, I tried the SL410 at the LBGS when it had just come out and it sounded lightweight to me as well as being lightweight. Went across to the Ashdown stand and their budget Rootmaster cabs for me blew the Aggie SLs out of the water. Horses for courses I suppose, would be a boring world if we were all the same.

Nice one Dave, I`ve just picked up a Vintage instrument myself - Tony Butler Precision. Am amazed at the quality of the instrument, seems Vintage punch way above their weight.

Congrats, nice bass. Saw a bassist using a `Ray last night, had a great sound, but very untipically `Ray-ish - plenty of mids, subdued top-end, gave a really full sound without being too bassy.

Agree, simply turning down a bass drum that is dominating the overall sound shouldn`t be tricky, after all they managed to turn it up in the first place.

Same experience for me with Rotosounds, read about Warwick Red Label Steel Rounds and have tried them, they last longer than Rotos, not sure how long as am still on my first set after about a month and a half, whereas my Rotos would have been dead by now.

I really hope that these new ones stand up against the other more familiar material.

I think Aguilar are soon going to be in danger of having priced themselves out of the market.

That Empress Ballroom is bad for this. Especially if the bassist is using a warm bassy sound, not too bad if they have a sharper sound, but it really can sludge in there.

Having thought about this pedal - and given the fact that I love the sound on the clips - I reckon it will do a job for me pretty well. As many bass cabs are voiced to be, well, bassy, it kind of makes a bit of sense to me that what comes out of the 1/4" has more highs, as this will compensate for the added lows of the cab being used. Initially I was a tad unsure when I heard about the possible difference between XLR and 1/4", now I reckon it will work fine - and my thinking is maybe Dug himself had it designed this way for this reason. Only a guess but it - now - seems a pretty good idea.

Charlie Harper from The UK Subs is a big inspiration for me now. I was never really into the band, liked them, but not a major fan or anything. But having been on the same bill as them a good few times, seeing how much he is into the music at - 73 now I think - and how much time he has for audience members wanting to chat/have autographs/pics taken with him, after doing it for 40 years, well it shows me the way a real musician conducts themselves. His love for it is evident, and apparently he still tries to write a new song every day. That to me is someone who is doing it for the right reasons. Whenever he is at gigs he literally isn`t left alone the whole time through people wanting those pics/chats/autographs yet never has a bad word to say about anyone, always has a smile on his face.

For me, where on a good deal of gigs we just get line checked as we start I need to know the sound I send to FOH. I may need to tweak the eq on the amp on stage to get what I want but a great starting point would be that the same sound was being sent to both the amp and FOH.

That's a biggie for me - I like to understand the singer, not just hear them. I always want our vocals loud & proud, if there can only be one loud & proud thing in the PA then it has to be the lead vocals, not the darn bass drum.

Yeah, really nice sound on that clip.

I saw a bassist using a CL610 about a month back. Had a good sound, and was super portable, lighter than my Ashdown ABM410. Everything was through FOH, but I could hear his sound pretty good on sound-check and the sound from the rig wasn`t radically different to that of FOH, so maybe this cab doesn`t have the high-end roll-off that some Markbass cabs seem to have.

Love that, JJB would be proud of you Kevin!

I`m gonna contact our singer, I think it may be him and he`s lying about his age...................

Thanks guys, always nice to hear actual specs from the companies themselves, and Tech21 are always good with this.

On a similar vein we had the possibility of a gig in Vegas, looked at flights, cheapest we could get would take 26 hours. I mean you could take off and hover and get there quicker. I think their theory was take off and go extra fast over Europe/Russia/China/The Pacific, rather than just head out the other way..........

It does seem to be the more popular type music attracts this - don`t get much of it on the punk/Oi scene but whenever I`ve been to the bigger venues you do wonder why many of the audience have bothered to go. Pretty much happens at football too, when I`ve been many of those in the expensive seats seem to spend equal amounts of time in the bar as watching the match.

Rather immaturely we have a new song on the way called See You En Tee (typed like this to avoid pranity laws). It`s basically about how to dislike someone for their race/colour/culture/religion is pointless, and that you should really only dislike someone if you consider them to be a ****. Likewise it`s also about how someone from a different race/colour/culture/religion can be a ****, so it is fine to dislike them, and that it`s not racist to do so.

IMO Behringer gear really punches above its weight. The BDI21 is a great Sansamp clone, yes the Sansamp is better but again, is it 10 times better, probably not but it costs ten times the amount (and should point out I`m a major Tech21 fan so not being critical of their products at all).

That`s just killed my wanting one of these.

That`s cruel Bas, my powers of imagination hadn`t got round to those thoughs - they`re now firmly implanted in the brain, drat!

That rings a bell, I was in The Shout. Used to play The Powerhaus, Bull & Gate, Boston Arms, that circuit. Great times, from what I can remember of them.