molan

I like the pairing of two smaller 15" cabs. My personal favourite are the Bag End 15's - these sound great together. I know someone selling a Mesa Road Ready 2x15" - now that's a cracking cab!

Signature looks like 2 of 3 to me (with the signatory being ON) rather than 2 of 30? CS do make some limited run stuff but I don't remember this far back, lol. They will almost always replicate any of the limited edition models as well. EG If there's a 30 unit run and someone wants to buy one a year later they can still build a one off for them - one of the joys of a 'custom shop' is that, within reason, they'll build whatever a customer asks for. They often have certificates saying '62, '63' '64 etc for what is, essentially, the same bass IE a '64 if it's 3 knobs or a '60 if it's 2 (although sometimes the '62's a 2 knobs as well!). These are basic templates to build from and it only gets really complicated when someone wants a '68 bound & blocked or a transition '66 with binding but clay dots etc. It's at this point that prices start to hurtle upwards as well! You could write to the CS in the States and see if they have any ideas (going through Fender UK is a slow process as they only really have one guy working the CS and he's mostly focused on guitar not bass).

Over the last week we had some time to try all the new Berg cabs against our favourite Aguilar SL's and spent a lot of time running the single 12" versions against each other (we might try the same tests with the CN 212 vs Aguilar DB212 and Bag End 212 but these ar coming with very different design principles behind them so we thought the single 12's were a good place to start). We tried them as both matched pairs and single cabs Running as paired 1 x 12" stack: We tried the CN's and the SL's using the Lakland Limited Edition Joe Osborn with block inlays and binding (very pretty bass!), a GMR custom build with a single Delano pickup and a Fodera Emperor Standard 5 going through a Carvin BX500 and an Aguilar TH 500. We found that with the CN's you got out what you put in, they are very articulate cabs with maybe a slight high mid and high end bias. We also felt that they had a faster reponse compared to the SL'S and harmonics just jumped out. The low end is not as big as the SL'S but is very controlled and punchy. The CN'S responded very well to eq from the amp or bass which was nice and we didn't feel at any point that they were struggling to handle whatever signal you sent them. The CN'S are truly a quality cabs and would work with just about any musical style you want, but we would say what you match it with in terms of amp and bass will have a lot to do with the final sound. The SL'S had a fatter low end and low mid and generally seemed to go deeper than than the CN's. At some points we felt that they may not take as much power as the CN'S but they are rated 100watts less (although this was more of a subjective feel than a real power rating test). There is definitely more of a 'vintage growl' that's very pleasing to the ear. When you dig in you get a really nice fat tone with just the right amount of bite in the mids. These cabs are great for rock, funk and blues styles. The SL's were maybe more forgiving in terms of picking up any technique errors whilst the CN's did highlight some finger noise and fret buzzing here and there. We've been using the SL's as 'reference' cabs for a while and they work well with almost every bass but, after extended listening we can feel that the CN's are going to be great bass demonstrator cabs. We ran another session today and were bouncing from a vintagey Fender '62RI to a modern Ritter Cora and they really made me want to keep playing long after our allotted demo time was up - in fact I wanted to take both basses home with me afterwards! We then ran the cabs as single 1x12's The CN's were again very punchy with a tight low end but we found ourselves backing off the tweeter a bit to take that really high end fizz out of the sound. It had a very pleasing growl when digging in hard:) With some some bass boost from either onboard pre or the amps it would be great as a single 112. Seemed to sound louder then the other cabs (maybe those upper mids). The SL again had that really nice fat low end and growly mid biased tone. Harmonics didn't quit pop like the CN but they were all there and it wasn't really lacking Anything as a standalone cab. It had a very nice smooth top end without the brightness of the CN. Just for reference, as we had one sitting there, we also tried the ATS 312. This was the most even across the sonic range and really allowed the core tonal characteristics of each individual bass to shine through. Might sound a bit of a cliche but it was like you could hear the different woods and pickup configurations having more of a defined effect. It didn't have the growl of the CN and SL but it did have a lovely smooth response with the tweeter backed off a shade. Now looking forward to the 212 test (and getting back on topic!). . .

[quote name='wateroftyne' timestamp='1369376518' post='2088427'] When are the HD's back in stock, Barrie? [/quote] I'd guess maybe 6 weeks or so

Would a really good Octave pedal help? Might get that synthy sound? The Aguilar Octamizer tracks pretty well even down the low end of the board

My local MarkBass rep says that PC editing is the key to these. Apparently there's a whole world of crazy sounds available

[quote name='lowerbassment' timestamp='1368873862' post='2082487'] Thanks molan for the detailed comparison - much appreciated! Sounds like a trip to Twyford to Bass Gear is on the cards. [/quote] Quick update from rainy Berkshire is that every single Aguilar SL and Bergantino HD has been sold! We're still enjoying the CN's though. The pair of 112's is really growing on me. I was running a '71 Jazz through a clean set TH500 today and this combination sounded really nice. Someone else then put a Pedulla 5 into an Aphex Exciter and then the same head and cabs - with the Exciter punched it the rig sounded huge!

I have a lovely Patrick Eggle which had this trem. I loaned it to a friend and it came back with the arm missing. I contacted Wilkinson direct and was quoted about £80 for a replacement because it wasn't made any more and would need to be a custom job. Sounded way too much so I didn't bother. Got some sort of aftermarket thing but it doesn't really work properly in the way the original did

I love this clip of him explaining some of the stuff behind Riders: http://www.youtube.com/watch?v=OoRFAbdmKD4

[quote name='JTUK' timestamp='1369068977' post='2084503'] ha ha ...take it from me, it is nowhere near 43lbs... as in 29kgs...!!!! [/quote] Is that for real John? That's more like 65lbs!

Anyone else read the title of this post and wonder if they're on the wrong sort of web site?

[quote name='lozbass' timestamp='1368961726' post='2083376'] I can see why any DB750 owners might consider a sale - I carried mine around a little last week and it's monstrously heavy, especially given the reasonably compact form factor. Getting it up stairs for a gig/storage is really no fun. I'm going to weigh it later - I'm sure the specced weight of 43lbs is way off. So, a major downside...however, then you plug it in and all makes sense [/quote] I'd be interested to see how much it weighs. I keep reading that it's heavier than stated but don't know anyone that's actually put one on some scales

I totally agree about hindsight being a wonderful thing. I was buying my first music in the late 60's and I still love some of the stuff I bought then but there was way more awful stuff around in the general airspace than good. My early teenage years were all glam, Bolan, Bowie, Roxy etc, soon to be followed by some serious program years - meanwhile most of the stuff being listened to by most people was still pretty awful. Moved to London at 18 just in time to see people like the Clash and the Jam at their peak and went to some great gigs. Got to roadie for U2 when they were still playing places like the Marquee in Wardour Street and moved into Billy Idol's room when he could afford the whole flat next door. Meanwhile the charts were awful. Then we hit some New Romantic stuff - great club scene in London and a lot of fun. Charts still rubbish. Etc. etc. etc. etc. We all have great memories of our early years in music and it's so easy to be selective and carp on about only the good stuff. My children have exactly the same sort of memories about house, techno, garage etc that I had about all the music I loved in my youth. To echo an earlier post, the only time I'd want to have been born at might have been a more recent one so I would still have it all to look forward to instead of drowning in nostalgia. . .

My Ritter has the entire body finished in the same stain on top of flamed maple on all the wooden surfaces except the fretboard :which is ebony). Looks and feels nice to me

I can't tell the slightest difference between the two - maybe it effects different strings in different ways?

[quote name='Solomon' timestamp='1368897269' post='2082817'] Lovely idea... but as far as I can tell, I can pick up a 1st edition 3leaf for around £50 and it'll be hard to get a Mutron III for less than £400, and probably get hit by customs fees when it arrives too. I can't afford to throw that much money at it at the moment. [/quote] I bought mine in the UK for under £300

If you do fancy a serious big power head then I'd suggest checking out the Carvin range. Made in USA and you can get the 1500w head for about £500 and the 2050w for £625. Amazing value for a big 'muscle' head, especially for something that isn't made on the cheap in China!

If you're spending this kind of money why not hunt down an original Mutron? Nothing sounds quite like one

[quote name='lowerbassment' timestamp='1368871116' post='2082433'] How do the CN112, HD112 and the Aguilar SL112 compare? Thinking of perhaps grabbing one 112 now and adding another oner further down the road. [/quote] It was really interesting to compare them side by side. The Aggie felt like it had the greatest low end punch with all the growl coming from low mids. My vote for older style rock, funk, grittier soul etc. CN112 had lots of clarity and clean note definition. Approaching clinical proportions if run really clean with the tweeter right open. Had to dial the tweeter down to lose string noise. A visiting pro thought it too clinical for something like a function band where you want the bass to blend in nicely rather than kick out in the mix. I didn't get as much time with the HD but initial thoughts were that it sounded like it needed bedding in and was a bit 'tight' straight out of the box. Seemed to be breaking up earliest at volume but I really don't think it was a fair test so need to spend some more time with it. The ATS was a bit of a revelation. Single 12" speaker with a pair of 10" passive cones. Really clear and articulate without ever sounding harsh, even with the tweeter wound right open. Plenty of low end but all clean, clear and precise. Possibly a bit too clean for my ears but I was making sure that I played each cab with the same amp and without adjusting any tone controls. Could probably add some more low mids and cut high end a bit. Basses used were a Fodera Monarch '86 and a nice custom P bass clone that the pro brought in. He also tried the Bergs with an EUB. Sounded nice but I think the Aggie would work best with it. There's someone else going to test them all this morning so more reports next week!

[quote name='KevB' timestamp='1368805828' post='2081815'] I think there was some guitar work on albums after Tony Reeves left and on a couple of tracks on Spyglass Guest that Reeves does play on (guitar by Dave Clempson guesting). [/quote] I always remember thinking they had somehow 'sold out' when I heard Clempson on Spyglass Guest - so much so that I refused to buy it and I used to love Greenslade at the time - mind you, I was only about 14 when it came out With regards to the OP - there's definitely some live vids from Bedside era showing Tony playing a White/cream Tele bass.

I finally got a chance to try a CN212 at BassGear today in the new amp demo room - much better acoustics than the main showroom and you can play really loud Stupidly I forgot to take my AE210 in with me to compare but I was able to run it against a pair of CN112's, HD112's, Aguilar SL112's' some very cool ATS cabs (combination of 10's and 12's) and a weighty Bag End 2x12. To be honest the Baggie was my favourite but it's just too heavy for my ailing back these days Of the others I'd say the CN212 was the best all round cab. Plenty of low end punch and very nice note definition and articulation. Didn't have the mid growl the Aggies have when pushed clean but, using a TH500 or a MarkBass Big Bang, you could dial in some of these mids to get close to the growl if required. Very nice piece of kit indeed. I must get my 210 in ASAP before they are all sold!

[quote name='Toasted' timestamp='1368788165' post='2081458'] I did this with a DB750 and downgraded to an AG500. Always regretted it. [/quote] I did something similar (DB750 to AG500 but with DB112 cabs). I found the AG to be very differently voiced to the DB and swapped to a TH and preferred it. In fact I spoke to Dave Boonschoft at Aguilar about this recently and he said that people trading from, or looking for a backup to, a DB750 would get on much better with a TH than an AG. He also said that their likely perception will be that the TH sounds 'louder' than the AG if they're used to a DB because of the frequencies at which it's working (if that makes sense - he explained it much better than this!).