DirkThrust

I owned 3 Stingrays and always had that problem, which is a pity because I think Rays are great basses. The weak G string syndrome been discussed at length on Talkbass and the most likely explanation seems to be that it's the way the preamp is voiced. IIRC I read that Sterling Ball stated that that's the way players like it. Some people have a problem with it and some don't so maybe it depends on the individuals' expectations or the sound of the band. I could never get on with the way the G and to a lesser extent the D string would just disappear in the mix and in spite of much tinkering I could never cure it and always ended selling my Stingrays. I would be very interested if someone came up with a fix. I would buy another Stingray like a flash because I love them in every other respect.

[quote name='Musicman20' post='752834' date='Feb 21 2010, 02:45 PM']Hahhaa, they discussed this on talkbass, and the normal argument of 'dont mix drivers' came up. I dont really think Tecamp would make a cab that doesnt work...they make fantastic gear.[/quote] The "Don't mix drivers" argument is about using different size drivers for the same frequency range. I would think that thing would have some sort of crossover in it. Still pointless though. It looks like a promotional gimmick to me.

[quote name='tom1946' post='750739' date='Feb 19 2010, 12:04 PM']What's better in the same price range?[/quote] Nothing IME. They are as good as anything else in their price bracket which means not as good as most of the "boutique" cabs that are so common nowadays Umph's point was that they're not particularly efficient.

I agree with Moos, neither of these amps are really man enough for gigging. If that's what you want it for you may be better looking for used. Having said that, I used to go to an open mic noght where the supplied bass amp was a Laney RB3 and it sounded surprisingly good. It didn't produce any earth shaking lows but it held it's own against the drummers and up to about 5 additional musicians.

I think you're confusing the two output jacks for two seperate channels. AFAIAA the HA3500 is a single channel amp so both those outs are common which is why Paul gave the above answer.

If I recall correctly the string through models came out in about 1996

I played a 50th birthday party a couple of weeks ago for our guitarist's brother and the bass player in the brother's band had a Traynor amp and an old Peavey 4x12. It sounded absolutely monster - loud, fat and grindy. I looked for some pics of the YBA-1 on the t'net and it looks like that was what it was. It had 4 inputs anyway.

I didn't think much of Townshend's singing but the rest sounded pretty good to me. Nice Ashdown rig Pino was using I counted about 3 shots of Pino in the entire thing. Such is the bass player's lot. Don't know what the bass was. I wonder what's happened to his '64(?) Precision

[quote name='PauBass' post='733388' date='Feb 2 2010, 08:00 PM']Well, I still want that kind of warm tone so I'm also considering an Ashdown ABM head, I'm not really into Hi-Fi sounding amps. Any idea if Ashdown heads go well with Bergantino cabs?[/quote] IME Ashdown heads sound pretty good with any cabs if you like their voicing. There are a small number of people on this forum who jump at the chance to slag off anything Ashdown though. I had an ABM500 which I sold to buy a LM3 just for the sake of portability and I've regretted it ever since. The LM3 is just too hi-fi and I find myself EQing it quite heavily to get a tone I like. When I've got the dosh I'll be looking for another EVOII. They do that fat valve tone better than any other tranny amp I've used.

[quote name='thunderbird13' post='732636' date='Feb 2 2010, 10:25 AM']I have enquired about 2 more bands that have advertised for a bass player recently but after 2 or 3 emails both of them have gone quiet, which is similar to the experience I have this time last year.[/quote] That's absolutely normal. Don't take it personally. Lots of people think starting a band is a good idea and start advertising. Then after the initial enthusism wears off or they discover that it'll be too much hard work or they just can't organise a piss up in a brewery they lose interest.

I'm amazed you're still sticking it out. It seems that as far as the guitarist is concerned it you are not a band member but a hired hand. I've been in that situation myself in only one band out of all the bands I've been in and it was completely soul destroying. Being told to play this or that bassline and if I deviate from it it's "why are you playing that" pissed me off more than anything else I've experienced in a band ever. Above all else band members should have a degree of mutual respect for each other and it sounds like that is completely lacking. If you are a hired hand then you should be asking the "band leader" how much he is going to pay you for your time. It also sounds like one of your main reasons for staying in this band is that you lack confidence in your own ability. That's something most musicians go through at some time or another, I know I did for many years. It's the fear of not being able to find another band so you stay unhappy in the one you're in. It's easy for someone to say you should tell them to stick it but once you are not in a band it feels like a much bigger hill to climb to get back in one. Unfortunately only experience will build your confidence but in a few years you will look back and think "Why the hell did I stay with that twat for so long". The only way to overcome that is to just get out and look. Put ads or answer ads in Partysounds, Gumtree, Musofinder, Adtrader, Bandmix and JoinMyBand and just communicate with other musicians. You will usually be talking by email so you're not under any pressure or obligation to go along with anything. Just remember there are more bands and people looking for bassists than there are bassists available. In no time at all you will find other people with a better attitude who you will get along with socially just as well, and if it doesn't work out there is always another band around the corner and you will have more experience on your playing CV.

I always feel a bit uncomfortable about owning lots of stuff so I've got one bass, one amp, one cab and one sound and that does it all for me. I still get GAS but I can usually reason it away and be happy with what I've got.

So it's not just a weight issue but size as well?

[quote name='chris_b' post='730245' date='Jan 31 2010, 01:32 AM']But, if there is any way of pointing you towards a non 410 cab then the Compact is the very best non Bergantino cab out there. IMO IME of course.[/quote] I'll second that. They don't come much better that The Compact or even The Big One, which is still a hell of a lot lighter than your Ashdown. I love 4x10s. For all their flaws nothing is quite like that punch in the back they give but age and laziness have forced me to compromise for an easier life. Depends where your priorities lie I guess. Those Ashdown 4x10s are great cabs and bettering them is not going to be cheap.

I played through a Markbass 4x10 a few weeks ago and it sounded great but they're only about 100 quid less then the Berg. I think you're looking for something that unfortunately doesn't exist. You're not gonna get much change from £800 for any lightweight high quality 4x10. Those Purple Chili cabs look very good and their 4x10 is about the lightest and cheapest around but it's still £729 [url="http://www.purple-chili.com/bass-cabs/pcb410t.htm"]http://www.purple-chili.com/bass-cabs/pcb410t.htm[/url] 2 2x10s may be the way to go but ultimately it's gonna cost you more than a single 4x10

[quote name='bigjohn' post='729292' date='Jan 29 2010, 10:40 PM']Surely if I put some other paint over... it aint gonna make much difference. I mean, you don't worry about painting something once it's been painted... ?[/quote] I wouldn't have thought so. The Tuff Cab paint is probably runny enough to just coat the existing finish while leaving the texture the same.

I'm not sure how you would get that Rhino effect. I put it on with one of those fluffy rollers from B&Q and it came out smooth but with a leather/tolex type slightly dimpled effect. I guess you could just paint over the top of Rhino and retain the same texture

You can get Tuff Cab from Blue Aran. They're not local to you but they do mail order. Putting it on is pretty easy. It's like very thick paint and I achieved the best results using a paint roller. I got quite a nice smooth finish but obviously that depends on the type of roller you use.

I would say that probably every amp and cab I've ever bought I've bought blind. In some cases that was because it just wasn't possible to try them out first e.g. Schroeder and Barefaced, but mostly because I've always found that playing through an amp or cab in a shop or in someone's house doesn't really prove anything without having the reference point of the rest of the band present. I don't think I've ever been disapointed with anything. A few times I've decided that the sound didn't really work in the band I was in, but playing in various different rooms and venues with different acoustics I've found that only trial and error will give any meaningful results. Basses OTOH I always try to try before buying. The only time I've bought blind, which was a 2008 Jazz from GAK, I couldn't have been happier with it when it turned up.

[quote name='bassmansky' post='728222' date='Jan 28 2010, 10:54 PM']but the combo is probably a uk made one from ashdowns first few years of prouduction.[/quote] Yeah I remember seeing these reviewed in Bassist magazine when Ashdown was a new company. It was one of their first products. It must be knocking on a bit now because the MAG 200 head became the MAG 250 around about 2000/2001 so I would say it's from the late 1990s. They were great little combos for the time. I would say it's worth about £80-100 if it's all in good working order and the driver isn't knackered, and the cab about £40-50. There's no harm in having a punt at a price you think is reasonable. Don't worry about it being too high. The forum rules forbid anyone from shooting you Don't rule out Gumtree either. I've had better results selling bass gear on there. People don't take the piss so much.

Maybe you'd get more responses posting this in the general bass discussion forum. People don't tend to visit this forum unless they're looking for a gig.

Our two most popular songs are Vertigo by U2 and Dakota by the Stereophonics. They both go down a storm. And never underestimate the popularity of......Mustang Sally Get a couple of girls up out of the audience on a spare mic to do backing vocals. Sorted. Depends how cheesy you want to get I guess

[quote name='Hot Tub' post='725724' date='Jan 26 2010, 08:51 PM']is it correct to set the gain to just before clipping and turn the volume up as required? Is anything gonna get damaged by using "full throttle"?[/quote] That's what I do. Turn the gain up so it's just clipping then back it off a tad. Always seems to work for me

I use an LM3 with a Barefaced Compact in both my current bands. Both have two guitarists and quite a heavy hitting drummer and we play an assortment of different sized pubs and clubs and I never even get close to limits of this set up. I also used one of the first generation Markbass Traveler 104s with an LM1 in a classic rock band with keyboards and a loud guitarist and again it was more than adequate. It was window rattlingly loud. I can't see you having any problems. Obviously neither of these rigs are quite the same but both are in the same ballpark. I think we tend to overestimate the amount of power we need.

If it's only for bedroom use why do you need the extra power of the Ashdown? If at some point you're going to be playing with a drummer and guitarist though, then the Ampeg will be seriously underpowered. I would also advise against buying anything in Denmark Street. It's expensive and the staff will treat you with contempt.