DiMarco

The high end Warwicks, currently labeled custom shop products are what they are. High end basses. Not only purchasing one costs a lot of money, service on them after the guarantee period also costs a lot of money. The same goes for high end cars and other goods. It is nice to own a Ferrari, but any service on it in the future will set you back quite some pounds/euros/dollars. This is why only rich people drive Ferrari. Yes even I sometimes ridicule the high prices asked for spare parts or service, but these prices come with the product you have chosen. They decide their pricing system, not you. I wouldn't ever buy a new Warwick custom shop product as I do not ever want to spend more then approx 2k on ANY instrument. I am a weekend warrior not some rockstar millionaire. I just think it is a shame Warwick are being portrayed the way they are by this thread. They are by no means an evil company and my experience with their customer service has been nothing short of exemplary and awesome. After having bought a used Warwick broadneck Dolphin Pro1 fretless five string from 1991, (which by the way is on at least one Simply Red album) the removable truss rod appeared to resonate inside the neck with some notes being played. I mailed Warwick asking what could cause this problem and within half a day Hans Peter Wilfer himself replied, sending me a photograph of the silicon grease I needed to re-apply as over the years the grease must have either dried out or was whiped off the truss rod by a previous owner. I ordered a similar pack of silicon grease, applied it to the truss rod and the problem was gone. What manufacturer offers this kind of service/advice to people using 2nd hand market instruments and therefor are no customers at all? Exactly. Most would have replied "take the bass to a dealer to get a quote". About the truss rod remark someone else made here: Thousands of Warwicks have been manufactured and sold, and are being played without anyone ever hearing about these instruments. They simply work. Over the last five or six years I have heard/read (I'm an admin on the Warwick forum but do not work for them) about only a hand full of problems with necks and/or truss rods. That's not a lot is it? Yet they get slag. Booh! Of course, if your neck goes bad on a standard Fender like bass you can simply purchase a brand X new neck in the aftermarket and your problem is solved. With Warwicks, and especially the neckthru models this of course is not the case. Final words on this: Taking any problems you have with a manufacturer to forums or social media instead of solving it with that manufacturer says more about you as a person then it does about that manufacturer. Ugh.

It broke one of the ceiling lights in the rehearsal room. I use it with an Eden D212XLT + SWR Goliath Jr. III 2x10. So yeah, very loud indeed. Big ballsy low end as well. Gigged with it several times and it kills. At first I had to get used to the amp, coming from a nice Trace Elliot SMX with built in dual band compressor. This tube amp is much more responsive to nuances it revealed in a horrible way that the SMX had turned me into a lazy player. I really love the amp now with its buttery but articulate tone. It does not colour the tone of your bass like an Ampeg does and it is very portable at 13kg. Everything I play now sounds very lively and warm and the tone I get through this baby with my Ric 4003 is just awesome. Problem I now face is I want my tone coming out FOH as well so I bought some kick mics that have little or no scooped mids (Sennheiser E902 and Audiotechnica ATM250) for this purpose. Of course there is also the trusty old SM57 but those sound kinda boxy to me. Might also try one of my Beyerdynamic M201's on the bass cab. I got the full stack set up at my attic for testing and deciding on which mic and mic positioning to use.

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There is no such thing as a final version.

I used to use sansamp for the "guitar amp" side of my sound but was not satisfied with how it sounded. So yes, I will be dragging it along. Good thing is for small gigs I can bring half the cabs along instead of all of it so it ain't so bad. The heaviest bits are the guitar combo and Eden 2x12 bass cab. Mesa valve amp is only 13kg so very easy to lug around.

It is an oldfashioned way of having overdriven yet tight tone. But besides that I can throw in my poly octaver in octave up mode and pretend to be playing guitar and bass at the same time. Sounds rather RATM really.

Yah. Bi-amping is a sport.

"He's a jackass" -Obama

I genuinely feel very sad. Didn't know I was such a hopeless fanboy at age 47 until just now. R.I.P. Fish. [attachment=195244:fish.jpg]

Royal foggin' blood watch out. Runs parallel. Octave up "guitar" signal into small stone and Flyrig5. Other "bass" channel is TLC, VMT, Wah. Trinity reverb will be replaced with a TC Ditto looper later this week. Ownage.

Indeed. I heard somewhere Mesa made a switch to JJ recently though and now use those in all stock models.

With the lid on it weighs just 13kg. Nudie pics are more sexy tho...

Canceled the 1x12 cabs. One was to arrive in a month and a half time, second would or wouldn't arrive sometime unknown. Dutch distributor of Mesa are obviously incompetent. Currently looking at my options, considering Barefaced or Tecamp, or maybe just stick with the Trace Elliot 2x15.

Ordered myself two Mesa Powerhouse 1x12 cabs. The 2x15 can be a lot louder then actual FOH systems in medium sized pubs which is really too much. Hanging on to that cab as well though as it just looks too damn sexy when paired with my Trace AH400SMX.

My mind has taken another swing. I think I will just hang on to what I have and know to sound good. Gigging this 215 rig on saturday in a reasonably sized pub. Will decide afterwards. Comparing my home practice cab (goliath Jr. III) with the Trace 215 I find that the tone controls on my basses have much more impact through the big boy and (wtf?) the 215 has a lot more definition then the 210, which seems to have a gap between 3khz and 5khz. Oh and yes that's a hf unit you spotted in the 215. I built it in, crossover kicking in at 5khz. The 15" celestions in there reach up to 5k so I figured the combination would be perfect.

Phil, ezbass, Thanks for stirring my brain! I'll go audition stuff, starting with a Vanderkley 212mnt shortly, as that cab is getting nothing but good reviews. Thanks again.

[quote name='No lust in Jazz' timestamp='1419941693' post='2644109'] Have these 'issues' come about since you took delivery of the Mesa Boogie prodigy? [/quote] Issues is a big word. The amp is smaller and 10kg lighter then the AH400SMX so I figured why not go more portable with the cab as well? I have no experience using only 2x12 though so am hesitating to take the plunge.

Thanks guys some valid points in both directions... Still haven't decided yet wether or not to spend money on 12 inch. Bill, with the larger xmax but smaller surface area, isn't the 12" pushing less air harder and because of that having a radically different dispersion? Just wondering in which aspects (if any) this makes the smaller speaker behave in relation to room acoustics. Am I overthinking?

Hey everyone, I have been thinking about downsizing from my 2x15" to a 2x12" cab or two 1x12" cabs. I know nowadays 2x12" cabs go really low and loud and can sound pretty impressive solo. But the fact is the speaker surface is only about two thirds of that of a 4x10 and even less then that of a 2x15 This worries me. My current 2x15" sounds MASSIVE in average sized pubs and has tons of headroom. I am not talking about lots of low end swamping the rest of the band, just about it sounding "big" and I am worried even the best of 2x12" cabs (berg, vanderkley, barefaced etc.) won't ever get such a firm grip on the room. So here's my question: Have any of you made the switch from 2x15 to 2x12? And if so, does it sound big enough for a gigging oldskool rock group with a hard hitting drummer? Cheers for sharing any experience.

Well technically the wowee wah is sitting next to the board, not on it... ok ok I FAILED.