mcnach

[quote name='largo' timestamp='1463035905' post='3047915'] have you tried Status Hotwire Half-Rounds? Interested in a comparison. [/quote] I did. I didn't find them that different from their standard flats, to be honest. Yeah they were a bit brighter, but not incredibly so. What put me off straight away was that the E string was dull dull dull... I contacted Status to see if it was normal or maybe I got a bad batch and they were not interested. So I lost interest in Status strings ever since. The Cobalts are a lot brighter, and less flatwound-like than the halfrounds, for sure.

[quote name='Passinwind' timestamp='1463011487' post='3047869'] Which gauge are you using? I've had the lightest set on one of my fretless basses for around 8 months now. They are just a little stiffer feeling than the T-I Jazz Flats I had on that bass for 12 years (two sets in that time). They suit me a good bit better than the T-Is, which I also really still do like a lot. [/quote] 105 - 85 - 65 - 45

[quote name='geoham' timestamp='1463001202' post='3047793'] I quite fancy them for my Lakland 5501 - reckon they'll be okay for the 35" scale? (Obviously just through the bridge, not through the body for flats!) [/quote] I think so... they go through the body on my ATK (34") and there was plenty string left (which I cut)

[quote name='Ed_S' timestamp='1463039003' post='3047935'] Hopefully it's not too far off-topic to ask, but what kind of size venue and type of tone are you guys going for when finding the CMD121p so lacking on its own? Please don't think I'm doubting what you're saying, I'm just genuinely interested because I've been using mine on its own for a while now and haven't had it run out of steam on me yet. I have much larger and more powerful amps/cabs, but space is usually at a premium both in transport and on stage so I'd like to use the 121p solo as much as possible, but at the same time it'd be really useful to know at what point I might end up asking too much of it and could expect a refusal - after all, there's little more annoying than owning something that would have done the job but not having taken it with you! I play in a two-guitar melodic/power metal band at nothing-like-sedate volumes but I've never had a problem with hearing myself on stage or being heard out in the room. Of course, FoH PA support makes a difference out in the room when you've got it in larger venues, as does foldback on stage, but I've played the 121p with all permutations of those two variables and in general the EQ stays 'flat' (all at-or-very-near 12 o'clock and cut the lows if it's a boomy stage), the filters stay off, the gain stays at 1 o'clock and the master volume varies between 8 and 10 o'clock depending on the setup in the room. Tone also makes a difference and mine is generally clean with no thunderously low component, plus I only play 4 string basses in Eb with this band, but we tune down to C for some of the songs in the set and even that doesn't seem to cause me a problem. I have other Markbass gear and completely get what you're saying about the amp being pretty much maxed-out by the time you're at 12 o'clock on the master, but I've only ever been near there once and that was when I first got my LMII years ago and still had an old cab that just didn't have the sensitivity to make the necessary noise without the application of additional wattage. Cheers in anticipation of your thoughts [/quote] I'm surprised you get heard clearly out front without PA with the master between 8-9 and input gain at 1. With PA, no problem. I bought that amp mostly as I generally only needed a stage monitor and it worked beautifully for that, and so easy to carry. But without PA... it sounds good on stage but get out in the floor (wireless) and you don't disappear entirely but there's no 'mass' to it at all. My experiences are largely with a ska(ish) band with a drummer, three guitarists/vocals, two trumpets and a sax. Lots of people but not necessarily very very loud. My EQ on that amp was generally flat (occasionally bumping/cutting something, a tiny bit), and filters off. In our music the bass is prominent and the little combo can't do it alone. I honestly cannot imagine any band except for quieter jazzy ones being able to pull it off. That speaker is pretty good, but it's a tiny enclosure (a great part of the combo is taken up by the amp, it's a lot smaller than the 'equal size' extension cabinet in fact)... I needed an extension cab if I had no PA support and we were not playing but the smallest rooms.

[quote name='Beer of the Bass' timestamp='1462985637' post='3047608'] Actually, that could be quite useful - I'll maybe drop you a message. It's hard to figure out strings from reviews alone! [/quote] you know where to find me, Martin.

[quote name='Paul S' timestamp='1462983981' post='3047583'] Interesting. I've only rehearsed with it once and didn't need to push it that much. In fact probably got to around 1 o'clock and was asked to turn back down again. Overall I have been impressed - my next gig with this band is at a small place where we play quietly, so I'll use it there and see. Maybe take a second cab and leave it in the car, just in case. [/quote] If you don't play loudly and you can take advantage of a back wall/floor to add with bass reinforcement, you may be ok. I've used mine (I only sold it a few weeks ago, so it's still very recent in my memory) by itself a few times in small bars and it worked. But anything a bit louder and it runs out of steam. My comment wasn't so much about what it can achieve alone, but about the notion that because the master volume it's at noon there's lots left. There isn't. You pretty much reached its limit (through its built-in speaker).

oh god...

[quote name='zbd1960' timestamp='1462966479' post='3047325'] Sounds to me like there is lack of clarity in the Ts&Cs... Can't tell from here what the scenario is: was set-up/take down fully included? Or, is the fee set at a level with an expectation of some set-up/take down support? From my limited experience, decent sound guys are not two a penny. If you think you are being taken advantage of (i.e. the implicit assumption is he's making more money by not having to pay a helper) then your only solution is to obtain quotes from other providers and be very clear about what you expect. Alternatively, he is reasonably priced with an expectation of some support in setting-up/taking down. A sound engineer is having to either buy or hire equipment, have transport, carry insurance etc so a decent job will not be cut-price. [/quote] this sums it up perfectly.

[quote name='jonnythenotes' timestamp='1462901123' post='3046842'] Blow him out.... It's outrageous that he expects you to lift a finger. You pay for him for his services, his PA and his expertise. Unless his contract states you will be roadies for him, sit back and let him get on with it. He will let you do it all day long and think you are the best thing since sliced bread, untill you drop something, or cause an injury to yourself or someone around you....then your on your own... I think this bloke is another one thinks that he is doing the band a favour, and you can't do without him.. [/quote] +1 would he wait around after he's ready to go, to help the drummer with his kit, and the various bits of equipment? Doubtful.

[quote name='Chrismanbass' timestamp='1462883439' post='3046578'] If you couldn't lift your bass amp into the car would you ask the sound man for help? how would you react if he said no because it was your gear and its "what you are getting paid for" [/quote] I don't think it's so much the helping, but the expectation that they will help *AND* stay longer than they have to to help him. Now, if this is a hired guy... it's up to him to define his fee and the level of service he provides, and if he needs help he should state so before being hired. Perhaps he should think of bringing help... but why share the fee if he can get help for free? So it depends. If he's pricing himself cheaper to help the band then the band helping him is not unreasonable... provided it's stated that way before hiring. If he's not doing the band any favours and just running a business... hey, if he needs help that's his problem, no the band's. It's like hiring catering for a party and find the chef expects the customers to act as waiters too.

[quote name='Twincam' timestamp='1462980915' post='3047537'] How do these compare to fender flats, which are fairly bright Imo (for flats) and cover a lot of ground. [/quote] I used those before, they were my favourite ones, for flats. The Cobalts are a lot brighter, no doubt, and a bit more midrange I'd say too, but still balanced. I think I could probably tame the sound of the cobalts to sound just like the Fender ones, but not viceversa. They also feel a bit more bouncy to the touch.

[quote name='Paul S' timestamp='1462981576' post='3047552'] I've just acquired a Markbass CMD 121P and like it a lot. For my main band, who are pretty quiet, it is fine on its own. Gain and volume both around 12 o'clock so room to spare, even. [/quote] with an additional speaker, yes, it'll get louder... on its own, it really does not get substantially louder once to reach the noon position on the master volume, maybe 1 o'clock max... so there isn't really much more room left, I'm afraid. It's a great amp but it has its limitations.

[quote name='joey1234' timestamp='1462979348' post='3047513'] I thought the slap bass was a re-hash of give it away, it sounds it to me anyway. [/quote] 'Give it away'? I don't really hear that, at all. It does remind me a bit of 'Can't stop'... It's growing on me 'though. Once I stop thinking of it as a RHCP track, I actually like it. I guess I have to accept that the old RHCP is no more.

[quote name='MrDaveTheBass' timestamp='1462975943' post='3047468'] They do sound different from rounds, but the tone is very useable and can be shaped easily with a bit of EQ. With the EQ flat, I've lost a little bit of the roundwound growl from my MM Sterling, but it can be dialed back in by boosting the treble a little. [/quote] That's exactly what I felt too. I generally like my rounds after they've been played in a bit and lose the initial extra brightness... so these sounded great to me from the beginning.

[quote name='Musicman20' timestamp='1462977568' post='3047486'] I miss Frusciante. Perfect backing vocals and super melodic and tasteful solos are his forte. [/quote] I can't agree more!

[quote name='tuck1s' timestamp='1462732676' post='3045292'] I've been playing an Ibanez EDB700 4-string (active) for around 5 years now, it's my only bass. My skill level is probably lower-intermediate, I can manage most rock and pop covers after enough practice. Currently I'm playing in a covers band with more of a pop and semi-acoustic focus. Partly because we need to be able to mix for gigs with varying volume levels, I currently DI into our desk with no effects or EQ other than what the guitar and the desk provides. I get plenty of level going in to the desk (perhaps because it's an active bass). What I do notice, is the sound even on the E string has a thinness to it. I tend to play off the neck pickup almost 100%, and I tend to pluck nearer the neck in order to get more of the sound I'm trying to make. The bridge pickup, or going nearer the bridge, makes things sound more twangy. Maybe that's an Ibanez 'sound', or maybe it's because the signal is completely 'clean' without any coloration added by amp or cab. I always play with fingers, never got the hang of a plectrum (yet) and that would just produce more ping and top-end anyway I think. I used to play through an old Eden cab and Ashdown EVO amp with a valve pre that helped to give growl and thump when needed. Given that I quite like turning up to rehearsal with just my instrument and a cable - I quite like the DI approach. I had wondered about whether something like a Sansamp - or just using an amp's pre section with a DI out - would make some difference. Alternatively I've always quite liked the Fender type sound, and these look pretty nice: [url="https://new.andertons.co.uk/p/0195402751/electric-basses/fender-american-deluxe-dimension-bass-iv-in-root-beer"]https://new.anderton...iv-in-root-beer[/url] These seem to be a departure for Fender in that they are active (and 18v as well ... double the number of batteries to carry around as spares .. suppose can't have everything). if I revert to playing through amp and cab, I have a (modded/improved) Ashdown Little Giant and a Barefaced Super Twin, which is capable of great 'lows' but again is quite 'hifi' in its sound even without tweeters. Comments welcome ... [/quote] what strings do you use? (brand, model, gauge) I found a lot of joy switching to stainless steel strings. DR Fat Beams in particular.

[quote name='Hobbayne' timestamp='1462920296' post='3047051'] Thats the problem. Even with the gain really low, hardly even moved above the off position, it still clips. [/quote] really? that's some hot bass you've got! Or you're boosting the signal a LOt. Or both. I typically had mine at around 12 o'clock to 2 o'clock, depending on the bass. There's so much talk about the preamps on those new SUB basses... I'd really consider replacing it. The Stinger from Retrovibe is probably a good solution. I'd prefer the John East, but it's about 3x more expensive (totally worth it, in my opinion, 'though). If you do that, you'll have no more trouble of that kind.

[quote name='Hobbayne' timestamp='1462919444' post='3047042'] Took my Sterling SUB Ray to rehearsal tonight and I noticed that whenever I boosted the tone controls on the bass, the input gain blue light was constantly flashing with a nasty distorted digital sound. When they were moved back to the centre flat position it was not as bad. I never had this my passive Fender P. I suppose my Markbass is not active friendly. [/quote] Nothing like that. But the preamp in your bass is notoriously hot (lots of threads about it) and you're just pushing it further by boosting the lows. You may need to turn the gain input control down a bit, that's what it is for. A passive Precision cannot boost anything so it's fine regardless. I used that combo for years with various active basses, and it's a very capable combo. Just set the input gain appropriately for each bass: your SUB gives a very hot signal. A Stingray is a lot closer in signal output to a Precision... but even then you can still give a high output if you start boosting everything. Your bass is already very high output so... turn the input gain down. Just play some slap to give strong peaks, and set the input gain so that it barely lights up blue when you slap. Then it'll sound ok.

[quote name='PaulFenderJazz' timestamp='1462882537' post='3046561'] Hi, the age old problem of an ageing back means I need to look for a light amp/rig but I need to compete against a drummer and 2 enthusiastic guitars! I have a budget of around £600-750. I like the idea of the size and weight of the Markbass CMD121P but wouldn't be able to afford an extra cab: could an amp of this size hold its own playing punk, mod and rock? I also wondered about the Ashdown RM heads and associated cabs: does anyone have a view on these? Or alternative ideas? Thanks! [/quote] That combo alone... you'll be pushing it. I had one and it's great but it would be a bit short for what you want without another cab. I'd go separates: I particularly like the MarkBass LM3 (same head as in that combo) and a capable single speaker. I love the TKS S112, it sounds great, it's light and it'll sound bigger than the combo, but one will not be enough, probably, for what you want. However they're not very expensive and they're so light and compact that carrying two is not an issue. Otherwise, a Barefaced BigBaby2 or SuperCompact might be a good solution. Especially if you get a higher power head, as those cabs can take advantage of some extra power.

[quote name='Beer of the Bass' timestamp='1462963972' post='3047288'] Hmm, I'd been thinking about trying these. My Sadowsky flatwounds are good in an old-school way, but I'll be doing some stuff this summer with a guitarist who likes to be loud, and a bit more brightness might not go amiss. Shame they cost a larger number of pounds than they do dollars! [/quote] I can't remember what I paid for them but I guess it couldn't have been much different from my usuals or I wouldn't have felt inclined to try them when I really don't have a *need*. I suspect they'll last a long time at this level of brightness, 'though... If you want to give the ATK a try, just let me know.

Do you like the feel of flatwound strings but you want the zing of roundwounds? Cobalt Flats! I bought them a few months ago to try them but stayed in my drawer until the weekend. I have just bought a nice Ibanez ATK300 which needed new strings... it had DR High Beams but they had lost a lot of their brightness and I like a bit of top end, especially as I get to slap a bit. The ATK300 has a Bassculture pickup that is more like a Stingray one than the original... but as I haven't heard this bass with the original I can't say how close it is to one. The preamp is very different though and it does not sound much like a Stingray, to me... but it sounds very good. The preamp is nice. The midrange is in the right spot to add a bit of 'nasality' to give extra presence to the bass, or to cut it and blend in more in the background. The bass is phat city, yet not boomy, and the treble is not shrill and allows you to tame extra clang... The cobalt flats seem a bit lower tension than I'd expect for the gauge, which is not bad. They have a nice bounce in them. They feel smooth, as you'd imagine. But the sound is nothing like any other flatwound I've ever tried. I've often tried half-rounds etc to compromise... nah. I never liked any of those. These ones sound like rounds after they've been on a bit on the bass, and retain a LOT of treble. Finger funk type basslines are a joy to play, and you can move quickly from low to high positions in the neck without sliding noises, so it sounds like your technique is a lot better than it is :-p I am really liking them. I still want to try this bass with my usual steel strings for comparison, but I already know these strings are *the* flats for me. If you want a more traditional flatwound sound, it's easy to roll off treble and a bit of the mids (it may be the bass, but I feel these strings have a prominent midrange output regardless)... I used the bass last night at rehearsal with my ska(ish) band and it fitted right in. There are a couple of songs where I have a bit of slap going on, and it sounded glorious.

[quote name='owen' timestamp='1462878830' post='3046477'] I was not suggesting that the BF One10 would be moving at all. The DOD was making the cone move in truly alarming ways. [/quote] A high pass filter may be a good thing to use then. I use an SFX Thumpinator but there are others, some adjustable (mine is fixed). They work subtly most times, but when you really need them they're great to have. They generally reduce a LOT the amount of cone movement that you see, yet the sound you hear is unchanged, or sometimes I even feel it sounds a bit tighter and 'better;' (subjective, I know)... and no, you don't get a weaker low end. I noticed that I end up pushing my amp less when I have the HPF in the chain, without reducing volume.

Just played a bit with mine yesterday, simply going through the presets... uffff, soooo many possibilities! It sounds great, I'm going to have to spend some serious time on this, editing and figuring out what the different parameters do... really cool!