51m0n

One of the main reasons the Roscoe really did it for me was its weight, its no more than 8lbs - which is slightly lighter than my 4 string, and makes just about every other 5 string I've picked up feel like a granite slab. I've had to put the 4 away in a hard case since I got the 5, and hadnt played it at all for a very long time. Just for a laugh I got it out the other night, bizarre, kept going to the A string for low G Other than that I was flying around it. The shorter scale length made it feel ridiculously easy to play.

I love that bass!

[quote name='wateroftyne' post='712595' date='Jan 14 2010, 02:27 PM']Fairy nuff! The modularity works for me, 'cos I sometimes do gigs with a big FOH and a quiet stage volume, and sometimes I'm just too lazy to carry two. ha ha. I had to look twice and check the Berg site when I read that... I didn't know the AE210s were rear-ported! The HS210s are front-ported. I know what you mean about rear ports... rightly or wrongly I feel the same way.[/quote] See, we agree on everything, we must be right

And in the other corner I had the opportunity to go for two Berg ae210s or one ae410. I ended up going for a single 410 since space for transport and storage are major issues for me, and when you get down to it the ae410 is a one man lift (for the non-decrepit amongst us - hey I can lift it so that has to be true ). The hs410 isnt even close to a one man lift for me. I do think the vertical stack idea is superb, but I cant help but worry about stability (which with the weight of HS210s may be moot, it isnt with ae210s IMO), so I'm looking for a small mixer stand to lift the ae410 up a bit. As for a modular rig, well I can see it being useful for people who play some very small venues, but I'd rather have tha ability to go way too loud and not than turn up with too little and break stuff. So I would always end up taking both anyway, 'to be on the safe side'. Tonally there are very minor differences in the ae series, nothing to get too hung up about, but I couldnt say if that holds true for the SWR stuff. I spent a good couple of hours A/B'ing the BErg stuff to get to that conclusion, at extreme volumes (thanks to Mark at BassDirect). Excellent afternoon that was! I have no doubt that WoT's rig sounds absolutely superb, because mine does The only other reason I plumped for the 410 was that its front ported. Now I know its not supposed to make any difference, but I sometimes have to put my cab as close to the back wall as possible, and although that wont block off the port, it still just seems a tad counter intuitive. But I havent measured it so that could be cobblers So really my advice is try them both and work out what your needs are first in terms of transport/storage/price/tone etc etc and then make the right decision for you.

From a sound engineer POV reverb on bass (ie low frequencies) = mud and generally is to be avoided. That isnt to say dont use a reverb on your bass, since many many reverbs have a lowpass filter built in to allow that kind of thing. just be aware. Live you are already suffering the inherent reverb of the space you are in, so adding more reverb (especially to the low frequencies) would almost certainly be a bad plan. Basically forget about any kind of punchy articulation if you do (unless it were a gated or similarly 'treated' reverb, which may have other peculiar side effects). This may of course be your intention, in which case get as muddy and indistinct as you like, who am I to say its pants I've only ever used a reverb live for one very specific sound I used on one track in an old funk band. It was a sort of film soundtracky type thing where I used the old 'palm muted thumb - wanna be an upright' type thing and a little tiny club reverb just helped to make it a tad more like an upright in a smokey club. Otherwise reverb for me has been solely for solo bass stuff, and even then carefully tailored to bass (with LP filters etc). If you are going to experiment with reverbs then as a general rule if you can hear it as a reverb, you've probably got a bit too much, (same with chorus as often as not) if you can hear it as missing when you turn it off then you about right. unless you are going for the big ole mud fest of course. Having said all of that, if you love how it sounds then do whatever floats your boat.

[quote name='Toasted' post='712332' date='Jan 14 2010, 10:40 AM']Does anyone else look at something like this and come over all a bit giddy and think "oooh, imagine all the stuff I could fit in that bad boy" [/quote] Got one of those bad boys in the cupboard under my stairs. Loads of luverly tools in it too. Shame I'm cack at DIY and hate it with a passion then really

[quote name='fretmeister' post='712323' date='Jan 14 2010, 10:33 AM']Aren't they about £400? Damn - that would be more than my head.[/quote] Well yeah, you can pay that for one, I got mine for about £150 S/H off evilbay. Nothing else at that price range comes close IMO.

Focusrite Compounder - best I've found and you can get them for reasonable money occasionally if you are prepared to wait

[quote name='RhysP' post='711320' date='Jan 13 2010, 02:18 PM']If Joe Zon would build me one (which is highly unlikely) I'd have a bass/12 string guitar twin neck Zon Legacy. Failing that: An 8 string Zon Legacy & a twin neck Shergold (bass/12 string guitar) like Mike Rutherford played with Genesis in the 70s.[/quote] Clearly he's up for attempting anything (given the right amount of palm crossing with silver), after all he met up with some weirdo called Manring or something and built him a 'hyperbass' whatever the hell that is...

There would be a fretless Roscoe 5 in there. Probably a Century Signature, but I would have to be careful with the spec to keep the weight right down... And another fretted one, but with a bit more bling than my Standard maybe.... An early 70's J bass too, cos I like that funky burp.

Nice! At £35 all guitarists should have one too! I really want one of the small mixer stands for my ae410, but at about £80 I cant quite justify it...

Still fascinated mate, keep them coming!

[quote name='Sarah5string' post='710274' date='Jan 12 2010, 05:12 PM']oooh that sounds like my girls room. Soooo painful!![/quote] Thats where 'ickle Johnny et al learn their first swear words I think You try not swearing as the unprotected arch of your foot comes down on the ultra sharp corner of a 4x2 lego block at 10 past midnight!

Severe lego and playmobil addictions in this household endanger the unclad sole at all times....

Terrible isnt it, everything I survey, it is bass (mwahahahahahaaaaa!) Plus toys for littl'un!

[quote name='Sarah5string' post='710228' date='Jan 12 2010, 04:54 PM']The insurance mostly! lol speaking of which just got a quote from allianz.. £47 a year for £1700 worth of gear inc in unattended vehicles.... seems pretty reasonable![/quote] Yup that would eb about right. Now imagine what £250+ worth of insured gear looks like in a little terrace house Cant move for bass kit. Sigh....

Saw Joe Hubbard demoing the Peavey midi bass at the COncorde in Brighton in the early 90's, really nioce fella, and a tip top player. Mind you wouldnt want to spill his pint.... Joe Hubbard's Day Job

About which, the power supply or the insurance?

Hey thats a dead cheap power supply, dunno what you are worrying about, them Diago ones are £70 withoput any newfangled super duper leads to get 18v or whatever. PIA or what! I insured my and Plux's kit for the first time this year, now that did make me sit down with a bump! Came to over £250 !!

Guitarists in your band need to downsize massivley. PA power is perfectly reasonable. Just cos you have a big PA doesnt mean you need to flog its knackers off, run it at a sensible volume and it will sound fantastic. 100w half stack is for stadia mate, not pubs. Any claim regarding tone is utter nonsense too, these days. Guitarists are hard to change, but if you guys want to sound good, hear what you are doing and impress the punters they will have to trust you on this one. Get them to get Cornford style 5-20 watt amps - tone to die for. Mic them and use their foldback to get them an onstage volume they like (did I mention you need to be able to run individual foldback mixes for vocals and each guitar? you do). Now set them right for FOH. Make sure the guitar amps are pointing straight at the guitarists heads (low on the floor angled back like a monitor is fine) - the amps arent there for the audience directly at all! Drummer may actually do better with a mic in the kick, and one overhead, just to lift him forward in the mix a tiny bit, not to be louder per se, but just to help a tad with presence. Also means (*if you have really good monitors*) that you can bleed a tiny bit of kick into the monitors too, can help tightne the band up a lot. If you need a small footprint go for vertically stacked 210s, or 112s, the height of the 210s is a massive bonus, and you still move as much air. 400w is about right IMO with reasonably sensitive cabs, and enough cone area & excursion. That way you arent asking too much of your amp, so it will sound better and also stay cooler, which will have an added bonus of stressing it less. By all means mic/DI the bass too, although I've not found a PA monitor yet that can handle real bass at anything other than the lowest levels (hence you still needing the big wattage so you are heard on stage) Vocals should be loud enough to be heard absolutely clearly, and with decent monitors and something like a dbx DriveRack there will be absolutely no feedback at all. If you really want to sound polished nothing else will do. The only issue is you will need someone running sound or some very detailed rehearsals and soundchecks for the first few goes. This stuff is not trivial to set up right IMO.

To be honest I like a lot of pretty hard on the ear 'experimental' stuff, Zorn, Ground Zero etc etc, and I've played a fair bit of 'room clearing' music too (whether or not by design ). As such I feel very definitely in a position to cast judgement over the efforts as represented by this ickle vid - since my taste and experience include stuff along these lines (and way harsher). My conclusion is it is just poor. Its definitely hiding behind a veil of "we're so complex and on the edge that you couldnt understand, man" but in fact its tedious, uninteresting, uninspiring badly written and as far as I can tell badly played (difficult given the medium to be sure though). Give me Torture Garden by Naked City any day, that's really amazing entertaining, inspiring and damned fun to listen to. Cairo Chop Shop, Dead Spot and Dead Dredd are three of my all time favourite tracks of all time like (look up [url="http://listen.grooveshark.com/#/album/Torture+Garden/2194056"]Torture Garden on GrooveShark[/url], stick with it though, you will struggle ). N.Y Flat Top Box is hysterical too! Damn I forgot how good Speedfreaks is, funky as hell in places JauquoXXXX please go back to the drawing board, its in there somewhere mate, but this isnt it IMO....

To clarify they both use a switching (digital) power supply, but the LMII and III both use an old school analogue amp, whilst the F1 and F500 (and SD800) use a digital amp too. Sound wise everything above is spot on.

Hello and welcome to the site Igor...

[quote name='birdy' post='705567' date='Jan 8 2010, 03:05 PM']Berg IP 112 Stack! Change your preamp to suit your mood [/quote] Allo! Wondered when you'd turn up matey No pics of said rig. Anyone whose interested I had a go on this when I went to pick up Plux's HT115, now that really is the ultimate portable powerhouse tone monster rig (the bass is, you know, 'ok' and all too )