chris_b

It wouldn't work in my loud band but I could easily gig with a stand-alone SM in my other bands. There wouldn't be as much low end as with the SC (pretty big) or BB2 (huge), but I don't think "lacking" is the right word at all. In the right circumstances there would be enough low end for me. IMO all these cabs are great stand-alone solutions and they easily pair with themselves and each other. Alex seems to have thought this through, and they compliment each other. Which cab(s) you chose is purely down to your sound preference and playing circumstances.

The reason Alex has a successful company and selling his cabs all around the world is because whatever others may wonder, he knows this stuff and you can be sure that he's taken care of all the technical downsides. That doesn't guarantee that you'll like the sound of his cabs but they'll do exactly the job he specifies on the website. Al, the Super Midget complimented my Super Compact perfectly. I was running 2 SC's at the time and the SC + SM gave me slightly less bottom end and a lot more mids, punch and top. Which is exactly what I expected from a smaller 112 with a tweeter. The pair of them went very loud, sounded very fat, full and clear and shook the room.

You can call Barefaced and ask to try any of their demo cabs. If they have one there they will say "come over". I borrowed a demo Super Midget for a week earlier in the year. They are very accommodating.

. . . and this. If you think that two 112 cabs will sound twice as good as one 112 cab, prepare to be amazed. They will sound a lot better than that.

Much better? That's a very subjective question. I use BF cabs and IMO they are "better" cabs (ie go louder, better sonic attributes and lighter) and sound "better" (to me for what I want to sound like), but if the tone isn't for you then it doesn't matter how much "better" they are. I've seen people put off by cabs at this level because they sound "different". They will produce sound that is clearer which people can dislike. I like that because it lets me cut through and makes me play better. As you already know, this is not the cheap option. But if you think the differences in tone between your old gear and this are "better" then IMO this upgrade is worth every penny.

They all look good and so does no guard. IMO the black guard looks better with the cream body. -1000 for using screws. +100 for double sided tape.

Love the sound? Just want more volume? Add the extension cab and get more volume and tone.

. . . . "Standing on the shoulders of giants".

Thinking about it, the only problems I've ever had during set up have been with week-end warrior types. Most of guys I play with turn up with small gear, set it up then move it into place when the drummer has finished. If someone mentions a problem the reply is usually, "OK, what do you need me to do?"

Leave enough room for everyone. Sounds simple and obvious but I turned up late one night and the guys had already set up. . . and left no space for the bass at all! They just looked blankly at me when I asked where they expected me to go, and then got a bit ratty when I told them all to move up to make room. What a bunch of idiots!!

I wish I played in a band with the imagination to play some of this stuff.

How can you love the Genz when you have these issues with your sound? EBS harsh top end, Berg sounds sterile. I'd say this amp must have something to do with these problems. I used an Aguilar TH500 with my Bergs and the sound was full and warm. A lot of top players use EBS cabs and get a great sound. The other thing is that cabs of this quality will expose any "issues" with your playing, because they are clearer and every note will stand out. That's part of what makes them what makes them great cabs. IMO whatever cab you get you have to replace that amp as well with something better.

I'm guessing that if you pushed the amp too hard it would eventually overheat and shut down. I tried running 2 4 ohm cabs but to do that I daisy chained 2 amps, each running a cab.

In really dull meetings I used to relieve the boredom by trying to write my notes with my left hand. I only got about 5% of the info down but the time went really quickly.

How much "tax reasons"? Would it stretch to a Bergantino B|amp and a couple of HDN112's?

I played the St Moritz when I was at school. It was a shitty dump even then.

For vertically aligned, Barefaced, Bergantino and Genzler. All top quality cabs that should do any job asked of them. I'd also suggest looking at 2 112's. Initially more expensive but, depending on your requirements, maybe a lot more flexible. Keep an eye on the Classifieds.

Is this only a backup head? How often will it be used? Is 200 watts going to be enough? That's about 100 watts into an 8 ohm cab. A small amp is one thing but a good small amp might be a different thing. I'd have a listen to GK heads and take it from there. I would be looking at the MB500 as a minimum.

The links in the older posts were broken when the site was upgraded, but should still be usable via cut/paste into Google. https://www.basschat.co.uk/topic/295011-the-jazz-funk-thread/?tab=comments#comment-3171887 https://www.basschat.co.uk/topic/70165-funk-and-groove/?tab=comments#comment-679477 https://www.basschat.co.uk/topic/319051-the-soul-funk-and-groove-thread/?tab=comments#comment-3454834

There are 2 Funk threads on BC containing just about everything you need to know.

IME the TH500 sounds great, the AG700 sounds better, the D800 was excellent and I like Markbass amps I've used. None of them sound anything like a DB751. I'd recommend a Thunderfunk if you want to stay with SS. If the OP is thinking this amp is borderline too heavy now it certainly will be in the next year or so. I'd keep the DB751, get a replacement amp and use the time to get used to the sound. Do your homework, buy and sell until you find the right amp for you. There are two certainties, your back will love your new amp and it will not sound like your DB751.

I had a listen to the first video. In places it was interesting enough. Pretty much in the vein of the experimental stuff that we saw being done in the 60's. Lol Coxhill was great at getting hitherto unknown sounds out of his sax. At least these guys are out there gigging. Sounds like they had a bigger audience than on some of the gigs I've done. Good on them.

Exactly. Don't believe everything you see. Hire companies do good business hiring out vintage and "special" instruments for TV shows.

There are lots of mod's that can be added to a bass but, as 5 string players are always posting and 4 string players are constantly failing to understand, a 5 string bass is not just about the lower notes. The main benefits also include the flexibility to play different lines, in different positions and in keys which are sometimes more appropriate to the song. A 5 string bass is not a 4 string bass with an extra string. It is an instrument in its own right with different possibilities and techniques. Adding gadgets to get a lower note and thinking that is a substitute for a 5 string bass is to completely miss the point. It's on a par with the misconception that EQing the neck pickup can make a Jazz sound anything like a P bass and that an electric bass can sound like a double bass if you fiddle around with the EQ enough.

Where is this going? After 4 pages the answer to the question do the "best" pro players mainly playing 4 string basses is still yes/no/maybe. The answer after 444 pages will be exactly the same. Like the rest of us, they'll use the bass that they want to use. Some wouldn't touch a 5 string bass with a barge pole. Their choice, but I wouldn't see that as any endorsement for 4 string basses over any other, just their preference.