mcnach

Well... the Two10 is doing fantastically well. It's not replacing by pair of TKS S112 because those are just lovely and so light, and small and... so BLUE, I love them. But there's been times when a two two S112 were not quite enough and/or I was pushing them quite hard, which worries me as they are not the speakers that can take the most abuse. I occasionally let other people play through my rig, and I'm always very clear to them not to go crazy with volume and low frequencies... so at one point I owned FOUR TKS S112, which was fantastic... but it's no longer a small manageable rig that can fit in the boot of my little A3. So the idea of finding something else that could do *bigger* was there for a while. I got the Two10 as a test. If I liked it enough, two of those would exceed my needs. I really liked it, as I stated earlier... and several months later I'm still loving it. Tonally it's not very far from the S112 cabs. I mean, it is different, but it belongs to the same 'family' unlike the BF BB2, for instance, which I never gelled with. The Two10 has a more powerful low end, but it's still tight, and I get the sounds I want from it very easily. The Two10 has seen a lot of action. I have used it on its own in a small bar type of situation where we are not being very loud (sax, trumpet, drums, bass, three guitars plus three vocals), and I've got very good comments. The one that stands out was this one from a person who has seen us many times and told me my bass sounded great this time, and had never realised exactly how many different lines I play on bass, it was very clear and present but well blended and not overpowering. The Two10 works. I have generally used it as a stage monitor, as I am normally having PA support. It's a small enough single box that sounds great and powerful enough. A single S112 worked but at times it felt a bit 'brittle', the S112 works MUCH better as a pair. So there we are... a lot of overlap between them. And finally I went for a second Two10. I haven't yet tried them live... but my only neighbours were away and I took full advantage of the fact. Just like two S112 sound a lot fuller than a single one... two Two10 sounded... HUGE. Just as nice, but... bigger. And it makes a big difference whether I stack them horizontally (port on the side) or vertically (port downwards). There's noticeably TONS more low end with the port on the side. I prefer them firing downwards as it keeps the low end tight and suits me best. With a single Two10 the effect was not as pronounced. That's good, as I prefer a vertical stack, and coupled with the fact that I am not very tall, I get to hear things very very clearly as the top (full range) speaker is closer to my ears. I can't wait to use them live. Very powerful rig that still fits in the boot of my car and it's so easy to carry. Looking promising! One thing... the two cabs are 4ohm each. My plan is to use them with two LM3 heads (or one, with my little series/parallel box, to put them in series to get 8ohm). When checking them at home I initially forgot the ohmage issue and wired them directly to one head, so nominally 2ohm despite the head being safe to use only above 4ohm). I didn't use it like that for very long or excessively loudly (although I did crank it for a bit just to rattle walls a bit). The amp didn't shut down. Once I connected an 8ohm cab and an existing 4ohm cab (from the venue I was playing) together... I didn't check and I assumed it was an 8ohm cab. It did the gig just fine. It was only afterwards that I thought of checking and saw it was a 4ohm cab ... so I suspect the 4ohm rating on the amp is pretty conservative. Still... I must make sure to not forget that, and not to allow any other person to forget that. I always wire my gear myself, but... Anyway... let the BF bashing continue I really like the Two10 cabs. Unlike the others I have tried (and owned!) these are right for me.

that's one sexy bass... I hope you find it!

[quote name='EliasMooseblaster' timestamp='1494595274' post='3297235'] Sure, it probably shouldn't be the responsibility of the other bands to help maintain the atmosphere in the venue, but if a genuinely good band has driven 100 miles to try and get their first foot in the door in London, I'd feel bad for them if we all just buggered off to the bar when they came on. (What are they supposed to do, bus down a bunch of mates who've already seen them play plenty of times back home?) [/quote] If it's a genuinely good (or rather, interesting to you... no judgement on their value, purely personal taste) band, you'll stay once you hear a bit of them, right? There's been many times where I wasn't planning on staying and while I hang around a little I hear a band play and I go "whoa, I like that!" and then stay the whole gig. If bands interest me I'll stay, but I won't stay just because we shared stage. If you see me watching, you know I'm genuinely interested.

[quote name='andytoad' timestamp='1494486841' post='3296332'] I'm not sure TBH. I'm thinking a pickup with a kind of stingray sound that comes in a traditional single jazz pickup design. It could be active or passive.. [/quote]Y ou won't get a Stingray sound from a narrow pickup such as a Jazz. Part of the sound is because of how wide it is (and the position)

Not that the knob positions will tell the whole story, but it might give an idea of how "not-pushing it" I was playing on Sunday. I just took a picture of the amp with the controls just as they were:

[quote name='tonyclaret' timestamp='1494462517' post='3296255'] Without derailing this post, I noticed from another thread you did have a couple of 1126's. Didn't this offer similar flexibility? As a one cab solution would the 1126 fair better than the S112? I presume you sold the 1126's because you preferred the tone of S112's? Cheers in advance. [/quote] I preferred the sound of the S112, that's right. The 1126 was more powerful, with lots of bottom end. My plan then was to just have the two 1126 and nothing else. But I didn't gel with them. Same with a pair of BF BB2 cabs. The S112 cabs are much more my thing. They just don't get as loud or as deep as the 1126 or BB2... but it turns out it's not really much of a problem. As a one cab solution the 1126 works, while the S112 does not (for me). I need both together, unless it's just as a stage monitor. A one cab solution would be the Two10 for me. However two S112 cabs are still very compact and so light and easy to transport... I got the Two10 as I was curious about going to a 2x Two10 configuration for those times when I need more than what the two S112 can give me, and the sound of the Two10 is very pleasant. So I generally take a single Two10 as a stage monitor because it works better than a single S112 (but not as good as two S112)... but that's because, as someone pointed out, I'm greedy and I like to keep a pair of S112 and a pair of Two10

[quote name='stevie' timestamp='1494404797' post='3295604'] I swapped it for a Markbass LMIII and got my woof back. [/quote] There seems to be a recurring theme here...

[quote name='Musicman20' timestamp='1494405555' post='3295615'] Bizarre that the bass world was so 'anti-4x10' for so long, now they are making a comeback. [/quote] I don't think the 410 cab has ever been unpopular

[quote name='SH73' timestamp='1491218936' post='3271247'] Hopefully the title is not misleading again! I'm hoping to get a 410 cab one day and have been looking online for something that looks tasty and reasonable priced. Currently I use 100w 115 Fender Rumble and I find the sound and performance satisfying. Now, I like both barefaced and ampeg 410 but barefaced is nearly twice as expensive as the ampeg but ampeg has been around donkeys years. How do you guys choose your cab?I don't gig but from aesthetical point of view I GAS for a 410. [/quote] My first 410 was a Peavey TX that I bought used for £70. It looked used, but that thing did the job very well. It also weighed a ton. Loading/unloading by myself including stairs... was not a lot of fun, especially at the end of a long night. But if it's going to be static, you can find them in cosmetically good condition for around £100, if you're looking for something built for business that will not cost much. I tend to choose with a budget in mind. That's why I bought the Peavey: I needed something that would be loud and sound reasonably well with a limited budget. Later on I could spend more and went for lighter/smaller modular solutions, because I end up carrying those things a lot, and meanwhile aiming to get a sound that makes me smile. It takes a lot of trial and error. The good news is there are a lot of 410 cabs in all prices and with very different sounds... the bad news is, there are a lot of 410 cabs out there etc etc

[quote name='tonyclaret' timestamp='1494350659' post='3295272'] Appreciate your time and expertise on this. Pretty much covered what was going around in my head. :-) [/quote] Glad to be of some use

[quote name='blunderthumbs' timestamp='1494090007' post='3293202'] Had the RH450 for a spell and found it gutless so got rid and bought a Mark Bass LMIII. All good so far [/quote] Similar path here. I wouldn't call the RH450 gutless, but there was something in the low end that just didn't sound right to me no matter how much I fiddled with the extensively tweakable EQ, and found that the top end just wasn't there when I wanted it. The LM3 was a much more pleasant amp for me, and much easier to get the sound I want with.

[quote name='kevvo66' timestamp='1494058940' post='3292876'] Hiya people ,I'm just pondering at the moment really , but I'm looking at a one cab solution really , not really gigging at the minute but just in case I do I'm looking ,I have a pair scroeder cabs that I love , but wouldn't take them to some of the rough arsed pubs I've played for fear of damage , I keep getting told bergs are the one cab solution , I've done barefaced not really my thing to be honest with you ,apologies to any fanboys or girls out there , I'm now the proud owner of markbass lm2 so that what I'd be gigging with the cab? Mainly pub gigs also and small festivals Cheers Kev [/quote] I know you said you've done BF but... After trying their Compact and BB2 (x2) (and others that I did not own but tried)... I found the 'retro' series (10" speakers, ceramic magnets) much more my thing. I currently use very often a single Two10 (4ohm) plus a MarkBass LM3, and I find that to be a pretty cool combination. It loves my Stingray and Precision/PJJ the most. Very nice low end that does not get boomy, very good definition, and a sweet low midrange. It can get pretty bright if you want it to, of course. If you've tried that and didn't like it, no worries but if you haven't there could be worse things that you could do I've got quite a few positive comments with that combination.

[quote name='countjodius' timestamp='1494326523' post='3294957'] Hi all, My Big Baby T has developed a sort of rattle on certain notes and sounds like a damaged driver or lose part. I'd need to remove the grill to get a look, and was wondering if anyone has advice for doing this on this generation of Barefaced? Gentle "jimmying" in the corner resulted in a cracking noise, and I'm worried that this is the wood and not the velcro! Any help much appreciated. I have contacted Alex and BF but this is going on 2 weeks with no response (customer service thumbs down!). [/quote] Regarding the rattle, have you checked the handle? They can sometimes rattle and it doesn't sound as if it comes from them... but then you grab them and it stops. If you haven't checked. worth trying before removing parts...

[quote name='pineweasel' timestamp='1494326219' post='3294954'] Interesting thread. I'm currently using a single S112 for small pub gigs and considering either a second S112, a BF Two10 or a pair of One10s. Can you enlarge on why you find the S112 pair better than the Two 10 for those gigs? Just a nicer sound? [/quote] My impression so far is that the S112 and the Two10 belong to the same 'family of sound'. They are different but not hugely. The Two10 has a bigger bottom end but it remains tight, and the S112 has very sweet low midrange with less bass... but with a small EQ adjustment you get very close to one or the other. Since I got the Two10, I never use a single S112 as a monitor, because it is only a little heavier/bigger (not enough to make any significant difference to my travel/stage arrangements) and I find I can get the same kind of sound, but I never feel I'm pushing it too hard. For small bar gigs without PA support, I would often take a single Two10 because it's convenient to carry just one box, and it's loud enough and with sufficient bottom end. I would generally prefer two S112 because I prefer their sound slightly over the Two10 (and two S112 have a noticeable bigger bottom than a single one, so it covers the bottom as well as a Two10)... so if is not a hassle to carry two boxes rather than one, I'll use two S112... if not a single Two10 is ok. Small bar gigs without PA support, where bringing two boxes is not a problem... then it's two S112. For bigger places or outdoors without PA support, I'd use two Two10 cabs, because that gets louder and deeper and I won't find myself wanting. But it depends on how loud you need to be. As I said, my ska/reggae band on Sunday did very well with two S112 in a beer garden - but it wasn't a very large beer garden or very loud. If you already have a S112, I'd get a second one. I like their sound a bit better than a single Two10, and there's no shortage of bass. If you like the sound of your S112, and would like a bit more of the same with a little extra low end, then get a second S112.

[quote name='Conan' timestamp='1494325915' post='3294952'] Says the man who used to own [i][b]FOUR[/b][/i] of these cabs!! [/quote] and glorious that was, glorious! especially in vertical configuration (hey, I admitted I was greedy )

[quote name='FuNkShUi' timestamp='1494313920' post='3294822'] You only need one cab for stage monitoring (i have got 2 btw). He's just being greedy [/quote] That's what I said, one for stage monitoring is ok... beyond that you would need the extra one. You're right about the greed 'though, although I wasn't acting on it here

[quote name='Twincam' timestamp='1493850003' post='3291360'] I would go with the mim Fender. Only because the hardware is slightly better than on the Squier, even the top end Squier versions have similar quality hardware to the lower end ones. Which is useable and works but not as durable as the Mexican Fender hardware in my opinion. [/quote] I'm sorry but that is just... plain wrong. CV series Squier hardware have nothing to envy any other instruments and it would work and last a lifetime.

[quote name='Ghost_Bass' timestamp='1493830654' post='3291103'] +1 The best Precision(s) i've had in my hands were two Classic 50's MIM basses. Only sold both as i use 5 strings verytime. Light, comfortable and great sounding basses that cost(ed) what i considered to be a fair price for the product. Would be my first choice if i ever find myself in need of a P. [/quote] I have a Classic 50s myself and I agree. Personally I'd get the Classic Vibe or a Classic 50s if the budget is there.

[quote name='Yukimajou' timestamp='1493819329' post='3290927'] I am gassing for a P Bass (I only have an Epi T'Bird at the mo), and was wondering if it's worth getting the [url="http://shop.fender.com/en-GB/squier-electric-basses/precision-bass/squier-classic-vibe-p-bass-70s/0303090506.html#cgid=%09squier-electric-basses&start=1"]Squier Classic Vibe[/url] for £440 or spend a couple of hundred more on a [url="http://shop.fender.com/en-GB/electric-basses/precision-bass/standard-precision-bass/0146100502.html#start=1"]MiM Fender P Bass[/url]? I don't have the option of going to try them both out, which is why I am seeking advice here. I know Squier are the budget range, but I actually prefer Epi to Gibson, so prestige isn't an issue here. Thanks. [/quote] I'd go with the Classic Vibe. They're great basses and I don't find the standard Mexican one being worth the extra £200. I had a CV 60s in Fiesta Red and it was a beast. Superb.

I check tuning before we start and then only if I have doubts about the tuning (because I hear something slightly off somewhere) or after an 'energetic' number maybe (particularly with popped strings). Or if it's a very warm place and I didn't get a chance to let the bass get used to it from the outside cold, then I check during the first 20min too. It rarely needs correcting more than a tiny fraction but I can't stand being out of tune. If an instrument can't stay in tune, it has to either be fixed (if possible) or retired from live use, in my opinion.

[quote name='Lozz196' timestamp='1494269958' post='3294595'] Yep, I`ve got into some really good bands purely by watching them as we`ve been on the same bill. If I`d been playing Jonny Big B*ll*x and the evening being all about me I might not have seen them. And that would have been my loss, not theirs. [/quote] !!! Not staying to watch others is not the same as acting as Jonny Big B*ll*x! But the image in my mind made me laugh

[quote name='tonyclaret' timestamp='1494272299' post='3294627'] I have one TKS S112 and it sounds lovely. Haven't used it in a live gig situation yet, but have been pondering adding a second cab for flexibility. I'll be playing mainly pubs and clubs, got a festival coming up but would have PA and monitor support for that. So hoping I may get by? Or do I pull the trigger on another cab? [/quote] I find a single S112 a bit limited except for stage monitoring. Adding a second one makes the pair just as nice sounding but noticeably bigger. I wouldn't like having just one. They're so light and portable that bulk is not an issue really.

[quote name='Beer of the Bass' timestamp='1494254178' post='3294355'] That's kind of reassuring, given that I'm using DIY cabs with the same driver which ought to perform similarly. The power handling doesn't look particularly impressive when modelled, but possibly efficiency in the mids helps them to seem loud, and it can be hard to know how modelled low end handling relates to a real bass signal. I have got the impression that they could handle a bit more amp than my MB200, and that would appear to be borne out in use. It sounds like a fun gig. I haven't been up that way in a few years, but it's a beautiful bit of the country and playing outdoors in the sun is always good when you can get away with it. [/quote] I was a little worried because the power handling is not tremendous and they're not the deeper sounding cabs. I thought that playing outside I might have to crank the lows and the volume. But while the bass control was turned up more than normal, it wasn't crazy, and same volume-wise. I've played many times louder than I did on Sunday, so I wasn't concerned. Bear in mind that this is for a beer garden, so loud enough but not loud that people could not have conversations at the back. In other situations it may not have worked. I did not get a chance to wander around to check but our guitarist did, as he usually does, and it was him who asked me to turn up just a little bit. My girlfriend was at a table in the middle of the garden and I asked her to indicate to me if she thought I needed to do something (she knows what we should sound like and likes her bass, as well as her bassist ) and she just gave me the thumbs up. I had told her about my worries, and she said it was just perfect for the place. That didn't help her being sympathetic with my "but I also need the two Two10 cabs" explanations... but it's too late to return them now The Stingray + LM3 + S112 are a great combination and I love them. Those wee speakers aren't going anywhere. I generally use a single Two10 for most gigs with PA support, as a stage monitor. It's much more capable than a single S112 and the sound is not that different (although it does sound clearly bigger, but it's the same kind of sound). But the two S112 are very capable in small bars without PA and better than a single Two10. It's nice to have the options... but if I had to, the two S112 would do just fine for me (just being careful).

[quote name='DangerDan' timestamp='1494145615' post='3293542'] This is always a bone of contention. I will tend to watch a few tunes (more if i enjoy the band) from as many sets as i can, and stay to the end, but i really don't mind if other bands stay to watch mine. I would much rather know that the people in the crowd (or lack thereof) are there because they want to be, rather than because they are bound by some sort of etiquette. Essentially I'd rather play to an empty room than a bored one. If i pay to go to a gig i don't feel i have to watch every band, i paid to be there, i'll enjoy the experience how i want to, i know it's different if you are on a bill together, but still, life is short. [/quote] +1 summed up nicely

[quote name='scalpy' timestamp='1494145182' post='3293536'] Hands up I don't do many of these kind of gigs anymore but other bands disappearing used to really get my goat. What they don't realise is they kill the atmosphere for the whole evening, and by extension the live music scene. (Or at least contributing to the slow death) [b]When they truck off, their crowd goes too and everyone falls flat. As many people in the room together for as long as possible, get the energy levels up, make sure it's a great night[/b], more people show up next time. Best gig I ever did in London village ran the bill like Later. Headline band on first, reverse the bill, resident act on at the midway point then the bill in the proper order. Everyone was rocking. [/quote] Ah, so you mind that their 'crowd' leaves, not so much the band. I have never seen any situation where a particular crowd leaves because 'their band' leaves. Rather, they leave because they were only interested in one or a few specific bands in the event. So, if you want everybody to have a great night, are you suggesting they should stay even when they clearly would rather leave? I think this highlights a weakness in the organising of the events. Some people put shows by merging a bunch of bands together that have little in common. Those mostly attract their own separate crowds. Some are in for the whole thing, many are in just for one or two bands. So the crowd in front of the stage shifts a lot. This also means that if the crowd falls just before you play, don't blame others for leaving, blame yourselves for not having a stronger crowd interested in what you do! Ok, maybe not blame, but... certainly don't point fingers at others when it's YOUR responsibility to get YOUR own thing going. Rather than being upset at the ones that leave, cherish the the ones that do stay, make sure that the ones that stay love it, and if you only make 2 new fans that night, that's 2 new fans. It's your choice to be upset or not. One thing, however, that I would not be happy about is about bands who disrupt things by moving gear about. If you're going to leave, make sure you plan your exit to ensure minimal disturbance. If there's a side door, use it. If not, leave on the side and preferably not all at once pushing people on your way out. Take big gear out before the next band starts and the crowd assembles, or wait. More than leaving, I find it annoying when bands just hang out backstage unnecessarily being in the way. So you're getting off stage... and there they are having a drink and laughing and waiting to go in... just move! Leave some room so that they can get out and then you can get in. Similarly, when you're getting out, don't just stay there chatting and laughing when another band is on the side waiting to go in and set up... THAT does annoy me. I had one guy coming onstage at a local music bar where we usually play (2x45' sets typically, 3 bands a night) coming onstage to put his gear in barely 2 minutes after our set had finished. He bumped me while I was kneeling reaching over to unplug some equipment... I glared at him and just told him that we'd get out of his way a lot faster if he did get out of our way while we were collecting our stuff. He looked at me like I was asking for something impossible. I had to follow by a stern "please get out and leave us room, you'll have plenty of time to set up later" and then he left grumbling. Idiot.