Chienmortbb

I had a few hours to kill while herself was going around the Range, Matalan, Pavers and Dunhelm. So popped into Absolute Music. I was moseying around the speaker display when a keen salesperson asked if I would like a demo. So off we trotted to the biggest rehearsal room with a pair of HH TRE 1201s and a pair of RCF ART 912s. I tried some of my favourite tracks on both, at medium then loud volume. At medium volume there was very little to choose, as the volume was increased the RCFs kept the high-end clearer and more defined. I could feel, and I believe hear, cabinet resonances in both speakers, although more so in the HHs. The RCFs are bigger and heavier, so I suppose that would be expected. Were the RCFs worth almost twice the price of the HH? Clearly, it does take a lot of money to get small improvements, but whether the extra cost is worth it probably depends on how big your bank balance is. The HH are £299 and the RCFS £550. Either would be more than adequate for vocals only and work fine with a sub.

I doubt whether the mains at a venue could damage your amp. Can you explain? UK mains power is rarely "dodgy". As I understand thugs, in the USA, this was not always the case, hence the creation of power conditioners. I am sure that @agedhorse or @Passinwind could correct me on that.

Most of the brands I was thinking of, Yamaha, RCF, QSC for example have what I call mid-priced speakers at the lower end of their ranges. I would define that as £400-600 region. I would define budget as sub £300. So for QSC K12.2 is £949 while the CP12 is £611. Yamaha DZR12 £1100 while DBR12 is £439.

The Barefaced 10 range are deliberately coloured, sound wise. The LFSys cabs tend to have a substantially flat response, what you put in, you get out. I have gigged Silverstone and Monaco. The Silverstone has more bass but in most venues, I was cutting the bass on the amp or in a pedal to tame the boom. The Monaco, on first hearing and coming from the Silverstone seems a tad bass light but it has plenty where you need it. The difference is subtle but I rarely touch the EQ when using my Monaco, leaving the amp set flat. I believe that the Monaco (and 10”Monza) actually go lower than the Silverstone I would happily gig either but is the transition from Barefaced 10s to might be a little easier with the Silverstone, sound wise. I am seriousley thinking of the newer 10” Monza ( should it be Monzter?). Similar to the Monaco but in a lighter 10” version. You lose a little in sensitivity but as I use it with amps that can push 350+ watts into 8 ohms, that would not be a problem.

OK two questions. Brands like Yamaha, RCF and more recently QSC have speakers i their ranges that cater for different price points. Has anyone compared the mid-priced speakers with the higher end offerings from these brands? Taking about some of the other brands, do their top end speakers compete with the lower priced offerings from the market leaders? I would love to hear an HH TRE against a Yamaha DBR. A Wharfedale Typhon against an RCF ART 7 series. Of course, not all brands have the same sizes, IN some the smallest is a 10 whereas in another it is an 8.

Have a look at @stevie's LFSys Monza. You will save a bit too.

Alas, most of these Fare East IEM systems are based on US available frequencies and are not legal here.

I used to play bass for an Open Mic night, and it was suggested that I got an acoustic bass. I looked at several, including Washburn, Martin and others, None really worked without amplification even against two acoustic guitars. So I got a semi acoustic. As I remember it, Washburn originally produced the acoustic bass for the MTV Unplugged series. Of course, they were always plugged in to both FOH and Broadcast sound mixer.

You REALLY need to get out more, preferably to see a therapist. 🙂

Welcome, you will find us mostly s friendly lot, but there are a few rogues. I have done Bourbon Street N'Orleans, so Beale Street is a calling.

I remember a "secret report" done for Leo Fender on how to alleviate the "dead spot". The report, I think it was done by George, concluded that two in line machine heads would improve it but only a headless bass would cure it under all conditions. Of course that was not a possibility for Fender, so we are stuck with it.

So much to agree with and so much to disagree with. For a start, is Welling REALLY London? Headless basses? I was like you, but we now have a regular spot at a bar that is a real squeeze. Fender 4 in a line bass is a no no. Logos on bodies? Where else on a headless? I would agree about Candy Apple Red, but my first bass was a Squire Candy Apple Red, and it was great, wish I had it now. Cheap Tuners? With you 100%. First upgrade on most basses (even some Fenders)

Yes, I had a couple of points where the rollers stopped, but the nice thing about Tuffcab is that its wet time is quite long, so you can go over it again and again. In my experience., a light touch helps, the weight of the paint and roller is enough, you do not need to press more. On the raw edges, on one cab I watered down some to get good penetration, but I do not think that was neccesary.

I have just realised, when I played the old six string egg slicers, I hated Strats. Perhaps that is why I make the sign of the cross when I see a J?

Yes rather than Rush hopefully? Seriously though in my experience, the right music tracks tell as much about a speaker as anything else. Mind you it should be music produced before everything was compressed to funk. I find Sade classics reveal a lot and I know @stevie puts various sources through his cabs before finalising a design of his LFsys bass cabs.

This thread has gone wild and I should reign myself in but… Jazz basses. I keep thinking I should have one and every time I put one in my trolley/basket, I chicken out. So why do people like them? They are a Basscaster, the 4 string, long Strat with two single coils. The control plate looks like an afterthought. Block inlays? Not for me especially on a maple neck. With all the experience of the Precision, why keep the Elephant ears? Actually I know why, stock control and economies of scale. The Precision was named because, unlike a double bass, it had frets and Precise note intonation was ( almost ) assured. Why the name Jazz? Marketing ploy to open a new market? So why do I have a Aerodyne Jazz Bass? Well it has a P pickup in the neck position. I do like the 38mm nut neck width, the body contour is unique and the overall package moved me like no other bass has. What about the J bridge pickup you ask. Hardly ever used although it is now a DiMarzio humbucker. If I ever succumb and buy a Jazz, it will have both pickups replaced with DiMarzio Jazz humbuckers. However I suspect putting a Jazz in my basket trolley will be as far as it gets.

Get off the fence, you must have some opinions?😀

Just out of interest, I have Wharfedale Titan 12 Actives as my active cabs.

Well I am the OP on that thread and I love black, so there!

It's the twin single coils I do not like. No, you cannot make it sound like a Precision Bass. They also encourage slapping and self-indulgent playing.

Good info. Thanks.

You made my point for me. Mechanised tuning pegs is better than tuners. In the old days before electronic devices to check that stringed instruments were in tune, we called them machine heads. Why has this changed? Laziness? What would have this classic album be called if we all called them tuners, back in the day? Tuners is hardly Rock n roll.

Before I start, I am not talking about flown line arrays here, I was once involved in pro audio at a Manufacturer however, even with a good understanding of Electronics and an enthusiastic amateur's knowledge of speakers, active speakers are puzzling. A good name 12 could cost you upwards of £1000 (RCF, QSC etc) yet you can get some equipped with DSP for £150. The stick on a sub are quite popular and seem good value, BUT the sound of most lacks a lot in the mids and many are Bose sorry Bass heavy. There are some good sounding cheap ones, but reliability lets them down. Take the Music Group offerings, the higher end Behringers seem fairly good but seem to have poor reliability. From the sma group you have the mid-priced Turbosound Milan series, but has this name been compromised since Herr Uli gained control? Has Samsung's acquisition of Harman affected JBL? Two other brands, Engineered in the UK, HH and Wharfedale Pro seem to get little attention both the Titans and the HH Tensors have given a good account of themselves when I have heard them but are not available everywhere. The uprated Typhon from Wharfedale are hard to find. So no rules here, but just tell us what you have and why you like them, or not.

You could have had my Soundcraft UI16 for that price. That is definitely genuine. At least Dim Sung Audio said it was (no, it really is genuine).

I have just realised another, if I am allowed: Elephant Ear or Clover Leaf machine heads. As an addendum, people calling machine heads, tuners. Tuning pegs possibly, but not tuners.