51m0n

Not disagreeing with the price thing, but was in fact trying to get people to stop mentioning things like Epifani, Mesaboogie or even Markbass (the big MB 410s are priced not so far away from a Berg ae410 these days ) All that kit is going to be unbelievably hard to trace in Greece for the kind of money mentioned here I'd have thought...

No one mentioned Bergantino?

PM sent...

Sadowsky sa200

Sussex then?

Cool, the thing you'll find with the slightly less basic arpeggios (6th, 7th etc) is that those extra notes are the colour of the chord, a minor chord with a major 6th (2nd chord in the Major scale series) supports the Dorain (2nd) mode. ALl this stuff is linked, but the arpeggios let you concentrate on the colour. It will take you a while to get this all going, but in doing this kind of experimentation and playing about you will rapidly expand the kind of things you come up with. Another brilliant way of changing what you play is to have a chord sequence, then put your bass done and sing/hum or mumble a line to go with it. Record the mumble, then figure it out on bass. In all likelihood it will be far more melodic, and interesting than anything you would come up with with a bass in your hands....

Simple question, can anyone recommend a DB luthier in or around Brighton for setting up a DB?

Yeah, definitely comes across as a realy nice bloke with a truly unlikely story. Enjoyed that a lot ta!

Couldnt get the track to play, so what I'm about to suggest may be useless This is really common IME. What to do? Well, try to work at arpeggios more, get less linear, break out of the box - there are umpteen different threads about effective ways to learn the fingerboard and so on, try some. Stop sitting down and saying I will jam now, instead go learn something new (minor sixth arpegios in two octaves for instance), then spend an hour playing with reordering the notes, so rather than going 1 - 3 - 5 - 6 - O, try 6 -3 - 1 - 5, just anything that stays with that new arpeggio set of notes. Allow yourself to dupicate notes (ie 3 -3 - 6 - 1 -5). This is all helped if you can get the underlying triads recorded to play over (under?) Dont worry what it sounds like yet, just experiment, use different octaves. Next really really really think about staccato vs legato, you are very likely (like most of us) to be fairly staccato, it helps in bands to make things feel tight, and to not be that big drone of mud. But its easy for this to become all you do, so spend some time working around note lengths, not cutting anything short. Mix it up. Rhythmically move away from down beats or straight eights, either go longer or more syncopated, you dont want to get shorter than 8ths, if you want flowing soaring lines IMO... You will probably find this lot generates a few new ideas. From there I'd look at sliding into notes, hammering on and pulling off notes (not all of them, the art is in where and when) to smooth the flow more. Just avoid anything to do with simple box shape scalar movement, thats whats most likely causing your issues... And thats just a single chord. Next try having just a couple of chords to move between.... Good luck!

[quote name='bassicinstinct' post='870572' date='Jun 18 2010, 10:31 AM']Should really have remembered this as I use one myself: [url="http://www.guitarampkeyboard.com/en/behringer-ha-400/69204"]Behringer HA400[/url] Bomb proof IME and cheap as chips!![/quote] I'm always dubious about Behringer kit, but even they cant get this too wrong - can they??

A few thoughts/truths for you:- You can never ever have too much power (thats why god made volume knobs) 500w into an efficient 410 or really good 212 will be enough for almost any pub gig. ANy more and you need a decent PA. Some rooms are acoustically awful - nothing you can do about that but move your rig into a better position in the room A rig at ear height sounds better for everyone, a rig on the floor (single cab) is very hard to hear the mids from. Result: you turn up too loud for the audience in the room A rig close to the back wall (back of cab within 1') gets about +3dB boost from the boundary reflections. Use this to your advantage! Deep bass sounds great on its own, turns to mud live and gives the FOH guy areal headache. Being heard is all about the mids... Speaker diameter is not related to cab performance in any meaningful way, neither is port location. It just aint that simple people!!!!!! Any modern amp putting out 500w into 4Ohm will do the job, its then a question of tone, reliability, weight and features (not to mention labels here but...) Cabs are more important than amps, they produce more THD (excepting the case of a deliberate overdriving of the amp), have far more to do with the frequency response of the rig than the amp does, and the efficiency of the cab really does define the rigs real world volume. Go play a bunch of amps and cabs and find something you like the sound of, then ask here if people think its really up to the job, or if there is a better alternative to get the same kind of tone....

[quote name='deepbass5' post='870413' date='Jun 18 2010, 12:22 AM'].....Go for front ported cabs to assist the sound forward, rear ported cabs i think are a cop out by the designers to build a smaller cab that meets the maths. I never think they sound as good.....[/quote] Oh dear, we arent still going around this myth are we.... Have you heard a Berg ae112 or ae210??

[quote name='Musicman20' post='869874' date='Jun 17 2010, 01:33 PM']LH500 plus a decent 2x12 or 4x10.[/quote] Something like an Aggy db212 then

obbm for me too. Basically Dave's cables are exactly what I'd build if I were doing it for myself, but its actually cheaper for me to get them from Dave since:- a. he clearly buys bits in more bulk than me and that makes his leads very competitively priced b. it saves me the time of actually doing the manufacture myself So I pay about what I would for the bits plus a couple of bob and get the lead I would have made turn up with 0 effort. What is not to like about this deal?? It is clearly a win win situation for everyone (woot!) Oh and they are damned good quality cables too....

[quote name='51m0n' post='869827' date='Jun 17 2010, 12:29 PM']A full stack IS overkill, but fun (until you are packing up at 1:00am) What about a Hartke LH500 into a 4ohm Hartke 410? (OK I'm assuming they do it in 4Ohms). That would bring the thunder rather spectacularly....[/quote] Another alternative that defintely does the business is an LH500 into a Barefaced Compact (or 2). Not sure how far beyond your budget that would be though....

[quote name='razze06' post='869713' date='Jun 17 2010, 10:12 AM']Keep the peavey markIV head, and invest in a top quality cab (4x10, 2x12)?[/quote] Whilst I can understand this I honestly think a top quality 410 or 212 will really show this amps failings up - and although they are pretty near indestructible they have never sounded that good to me...

A full stack IS overkill, but fun (until you are packing up at 1:00am) What about a Hartke LH500 into a 4ohm Hartke 410? (OK I'm assuming they do it in 4Ohms). That would bring the thunder rather spectacularly....

[quote name='chris_b' post='869063' date='Jun 16 2010, 02:27 PM']So, as the specs for the AE212 are the same as an AE112 x 2, do I expect it to sound as massive and as loud as 2 AE112's? I know what 2 AE112's sound like and I would really expect the AE212 to sound pretty much the same, so is there a "hype fest" starting on TB? I'm surprised that Bergantino have gone for a 212 as it pretty well duplicates existing products.[/quote] Well we dont know whats actually going on inside it do we? We dont know if he is using exactly the same drivers (I would think he is) We dont know if he has tweaked the port tuning (quite possibly) We dont know if he has found a previously unknown seam of Bergantino's Magic Speaker Fairy Dust (tm) and used liberal doses of it on these new cabs But I doubt theres much more of a difference than there is between the ae410 and a pair of ae210s. The difference is there, but (to my ears when I A/B'ed them) it was close enough to insignificant to be not worth worrying about for my needs. The internal volume will almost certainly be a bit different, but how much of that is impacted upon by more bracing over the larger dimensions I couldnt hazard a guess at... Nevertheless reports on TB have stated that its a properly thunderous thing, and so on and so forth, so our American brethren are certainly starting to get their knickers in a proper twist over it aren't they

According to some Talkbass posts from people who have tried the preproduction versions the ae212 sounds MASSIVE and is hugely loud too. I would try both and see which ticks your tone box hardest. Be prepared for a long old mull! Dont think anyone can comment on whether or not a DB212 will be better or worse until they've compared the 2. The DB series are supposed to be ace cabs, but the Bergs are still the ones that get the "creme de la creme" tag and associated GAS from me

Warranty my bum, you've got 5 or 6 years peace of mind as a result of the Sale of Goods Act 1979. Worked for my washing machine going sploink 2 months out of warranty, should work for your amp to. You have to get independant verification that it has died through no act of abuse, which will cost a few quid, and its the seller who is liable to sort the issue out, not the manufacturer. You may have to make a small claim if the seller is dumb enough to argue the point (they will lose the case, this is a pretty clear cut law), you will then agree a fair price or repair/replacement if that is more viable. Make sure you quote the releavant parts of the Sale of Goods Act every time you speak to any representative of the seller, it really puts the pressure on them, and takes it off you. It could take a few weeks to get sorted. Give it a go! MB kit IS reliable, you've just been very unlucky, there are thousands and thousands of units out there and a very small nuber of failures get reported. Its a pretty good batting average.

You may have noticed I have few if any soft skills. And rarely gig You are therefore in all likelihood absolutely spot on! Hey ho

[quote name='OutToPlayJazz' post='867530' date='Jun 14 2010, 10:01 PM']I suppose in a lot of ways I'm lucky in that I don't have to play with guitarists very often. In the musical areas I play even if there is a guitar, they're forced to be very subtle, which can only be a good thing. I'll be working with my old trio in July and the guitarist is very good, but I will need my earplugs in order to deal with the barrage of nasty noise he'll make. I liked Daz's comment in post #68 - Yes, we are always hearing from people that our basses are just a "guitar" - No, it's not a guitar you moron - It's a bass! And that it must be an easy job - Nope, it's as involved as any musical instrument if you learn to play it properly. It takes years of practise, a good teacher and a lot of experience to become a good bass player. So I hereby declare that anyone calling our magnificent instrument a "guitar" from now on should be deserving of a slow and painful death... [/quote] How about a banjo? My mum always used to refer to my bass as a banjo (mainly cos I'd go all red in the face and steam would come out me ears), is that OK?

That is ace. Really inventive. Loved it!

Thats not silly, its just naughty!