molan

[quote name='alexclaber' timestamp='1429629225' post='2753407'] A Super Twin will play louder than every other cab mentioned in this thread. [/quote] Knowing what a whiz you are with the physics of cabs, but also an exponent of 'real-world' listening tests as often being more important than just 'numbers', I'm guessing you've been running some head to head tests of your cabs against those of the competitors mentioned? I'm sure people would be really interested to hear your conclusions

I use a Bergantino AE210 and it's easily loud enough for me. I'm generally running a Demeter 700w head into it but sometimes an Aguilar TH500. Even at 8 ohms I don't need any more volume on stage. In fact I used it on Saturday standing rammed up against a very loud drummer and was asked to turn it down as there was simply too much low end bass! I was running eq fairly flat and volume at about 11:00. Turned down to 10:00, cut some bass and slightly boosted mids and it was still very loud on stage.

[quote name='JTUK' timestamp='1430730034' post='2763983'] I wouldn't discount TKS but you'll need to get to BassGear which is about an hr or less south of Bass Direct, I'd say. IMO, the very interesting thing about them is that not only do they make great cabs, they do both ceramic and NEO ranges and you could get 2 S112's for your budget... which I rated above the SL and CN. I agree, you do need to hear the Vandelkley as well... A 212 is going to be heavier, of course, but the ceramic s112's come in at around 10kg Of course, with all these shops, call ahead to see what they will have at the time of your visit..especially if you make a special day of it.. [/quote] The S212 is a good cab and the addition of the 6" mid driver in the S2126 makes it really smooth and has, unsurprisingly, great mids

Maybe Behringer bought TC so they could start using their power rating methods as they quote even higher differentials. . . Sorry, couldn't resist

[quote name='ezbass' timestamp='1430732070' post='2764021'] It's a winning combination, as both you and/or the drummer can use the angled Cub as a bass monitor. [/quote] I took a demo unit of the new BG400 (in red!) to a rehearsal last week. Smallest cab I've ever rehearsed with when playing with a drummer using an acoustic kit and it worked amazingly well. I could imagine one of these with the C4 extension can would cover most gigs for on-stage sound and throw a fair bit out front as well

[quote name='ezbass' timestamp='1430722190' post='2763891'] I've been running a Cub with a PB300 for quite a while now, although I've recently been taking out the 300 with just a Bass Buddy. With the Cub I run the EQ dead flat, but with the BB I have to have a distinctive push in the mids on the graphic to get the same tone. Great pieces of kit. In an ideal world though, I think I'd like a Flightcase with the 300 so I could take just the head combo for smaller gigs (the Cub just isn't powerful enough/have a big enough cab for gigs) and the entire rig for bigger venues/loud drummers. [/quote] I don't know why I've never thought of trying a Cub with a PB300. It's taken me quite a while to get my head around the PJB sound and philosophy and I was very sceptical about them. They are beginning to make sense to me now though - just need to try a few more combinations The little C4's are probably my favourites and they have the piranha speakers as well

[quote name='Legion' timestamp='1430693287' post='2763838'] Thanks anyway, the red ones seem to pretty rare around here [/quote] And they're more expensive

[quote name='Legion' timestamp='1430691331' post='2763822'] Don't suppose one of those is in red Barrie? Been considering the upgrade for a while now [/quote] Both black I'm afraid

Good review - I must admit that I prefer the ceramic driver PJB cabs but I know a lot of people that prefer the Neos so I guess it's just a subjective thing. We've just received a pair of PB300's in part exchange so I must test one with one of the baby combos to see how it sounds

If the CN212 is too expensive then the CN410 is going to be too much as it's about 20% more expensive?

The Bergantino HD212 is a great cab but hard to find. We tried to order one recently but the wait list was too long so we had to remove it. The new CN210 is cool. Has a lot of the signature Bergantino Neo sound in a smaller, and cheaper, package than the CN212. I have the Berg AE210 which sounds huge but I'm seriously thinking of trading it for the CN210 simply be use it's about 25% lighter. Markbass cabs do tend to sound particularly good with their own heads. My personal favourite is the Traveller 210. A 4ohm one of these will cover a lot of gigs or a pair of 8ohms will give greater flexibility (but at twice the price of course).

The trick to owning most of the heads you've listed is to look for a 4 ohm cab. We have a customer using the LM250 with a Markbass 2x10 4ohm and it sounds great with plenty of volume. Handles all of his gigs without an extension cab quite easily. Going for the Blackline head would save more money towards the cab and they sound very similar to the LM versions. Plenty of dealers will offer a 'package' price on a head & cab combination as well

I don't have a copy of BGM handy. Can someone fill me in as to who the 'pretentious so called professionals' are that are being referenced in the OP?

I'll often play both behind and ahead of the beat, as well as on it of course. For me it feels like I'm either leaning back against the beat or leaning forward into it. I'd say I do more of the former than the latter and really like how it changes the feel of a song. My drummer can play like a metronome so that really helps. Every now and then our rhythm guitarist will spot it and it can confuse his timing so the drummer and I will work on it with him. I haven't read the article you've mentioned in the original post but are they professional musicians? I don't understand the 'so called' reference?

Aguilar pickups can be richer and warmer. Maybe the 60's ones would work for you.

Closest to a 'one bass fits all' instrument would be a 5 string PJ with an active/passive circuit (set for no loss in volume in passive mode) and a passive tone control that doesn't work in active mode. In a 'perfect' world maybe with a simple flick switch to solo either pickup. I've had this before and it let me go from bright active with both pickups to solo P mode in passive with tone rolled right off by flicking one switch and pulling up on a tone knob

I always think one of the nice things about the for sale section is that you can browse around and might come across something interesting you'd not normally spot. Subdividing would take this away and the section could get a bit boring. I think it would hurt sales numbers too.

APC will take anything. I've used them to ship 100lb 4x10 cabs in the past.

I know some serious pickup experts who say that a bass with EMG's will sound more of EMG than the core woods or bass design. If you like that sound then EMG's are great. However the signature time is very strong so if if you're not 100% happy with it then it's worth looking at other brands. Aguilar would be my personal favourites and they make a lot of of direct EMG replacements

[quote name='Roland Rock' timestamp='1429682774' post='2753825'] Hi Molan, What's that variable pickup position prorotype one like in BG? [/quote] It's kinda cool and works well We had it fully serviced by our local luthier to make the movement even smoother than original so it's fast to change position with the rotary selector. You can definitely hear the difference between positions. Definitely a useful too for recording and simply playing at home and hearing how pickup position can effect tone. Could work live in something like a function band format.

As someone who works part time in a bass shop I get to hear a lot of people trying things out. There's no real uniformity at all. Some people play recognisable stuff, some noodle around and some play very short sections all over the board listening for uniformity of tone and clarity etc. Very few people slap these days and hardly anyone plays with a pick. For a while we heard There's Nothing Like This by Omar a lot but that seems to have subsided now. It's interesting to watch serious pro players. They often have warm up riffs that they use before going on stage and they'll play these when trying a new bass. We have one regular pro customer who always plays acoustically first and then maybe just a few notes down on first three frets, across all 4/5 strings to see how they compare and then that's it. There's certainly no judgement of whether anyone is a 'good' or 'bad' player. The four of us in the shop are all of various standards of technical ability but never think of ourselves as being 'better' than someone. As has often been said here on BC, there's no real definition of what makes a good player.

[quote name='juliusmonk' timestamp='1429646662' post='2753683'] . As with many small builders, every instrument tends to be unique though, so worth checking the specs carefully [/quote] I've played quite a few W&T basses and think that Enrico Pasini is an excellent builder. As mentioned above, pretty much every one is a custom build and made to order so each one is going to be individual. Well worth checking one out if you get the chance

Barry Moorhouse at the Bass Centre can supply Elites. WestSide do Dunlop and Elixir (latter might be a bit pricey). D'Addario have a huge range and fantastic sales service in the UK. I've got contact details for all of these if you need them

If you like the Zon tone then a 4 string might also work - probably more expensive and harder to find than a Warwick though Some Spectors also work well for hard rock. If you are ok with fan frets then a Dingwall could be interesting. I've never been sure the fan idea adds that much benefit on a 4 string but if you're tuning down to B then it could be quite cool