chris_b

So all amps should be run at 8 ohms? This is not true. It is perfectly safe to run an amp at 4 ohms. I don't advise anyone to run any amp flat out because they don't sound very good if you do that. I don't run mine over about 6 on the master volume, but new amp owners should know if an amp is designed to run at 4 ohms (and they all are) it is perfectly safe to do so and they will not shorten the life of the amp running at 4 ohm at a sensible volume.

I've got the Peter Gabriel program on making So, with Tony Levin showing how he played Sledgehammer.

John McVie was playing on the first gig I ever went to.

[quote name='Samashton12' timestamp='1394019464' post='2386919'] ....Last gig we played was a charity gig, didn't really matter what we played.... [/quote] I understand what you are saying, but my bands would adopt the same attitude to a gig if it were the Albert Hall or a "no pressure" charity gig. People see you playing and make their minds up based on your performance not on the circumstances of the gig. You should always play like Michael Eavis is in the house looking for a Saturday night closer for the main stage for next year.

Tort is the best on any bass. The real question is, why isn't it a 3 tone sunburst!

There [i]are[/i] "rules" for putting together a good set list. Unless you are very good or have a room full of diehard fans don't start the night with a slow number. Don't finish the set with an instrumental. If you have a hoard screaming for an encore, make sure you finish with enough time to do 2 numbers, a 3 number encore is even better. The numbers should flow. Keys aren't as important but never have 2 numbers together with the same feel. If you only have 2 slow numbers, don't put them together in the same set. Start the night with your best number. End the night with 4 or 5 numbers leading up to a great last number. As always, this is rock and roll and rules are meant to be broken, but a good set list must have a shape, pace and structure. If you really are stuck, use the last set list as a starting point and make any changes you feel would benefit the new venue. [size=2] [/size]

I think it's pretty difficult to get a bad sound out of Bergantino cabs. Good move.

I'd have kept the speakers and the amp (for your Fender gigs) and added another amp to the collection, such as the GB STL 9.2. I think the Genz would work well with the "darker" Warwick sound.

Don't flats just work? I changed the strings on my Pbass, didn't touch anything else, and it just sounded great from the off.

Last year according to the thread on TB the revisions had got to H (that's 8), so I as someone stated 10 earlier in this thread I accepted that there had been a few more. Even if it's half that number the amp's not reliable enough for serious gigging, in my opinion as a serious gigger.

....and how is that relevent to this post? Everything can break? Sure it can, but the post is about stuff that breaks a lot and my reply was about stuff that hardly ever breaks!!! For example my SVT3-PRO, used weekly, ran faultlessly for nearly 10 years until I upgraded.

Of course they exist. I can list you many amps that have a reputation for being well made and reliable.

We play Hollywood Nights which is an even faster, relentless octave bass line. It used to kill me but my view was it’s a great line for the number and I should be able to play it, so I’m bloody well going to! All I can say is, relax and don't think about what you're playing, breath, play with the neck of the bass raised, that put's your wrist and hand at a better angle for the octave stretch, and just practice until you can play it right.

I have Lakland flats on my passive Lull P and it sounds fantastic. I have played this set up exclusively for 3 years..... but..... I am missing some of the dynamics I used to be able to get with my active Lakland and the DR Lo-Riders.

[quote name='petetexas' timestamp='1393922156' post='2385741'] ....Feeling even more confident now.... [/quote] Why? Unless you've fixed the problem it still isn't reliable. Too many PF500's have failed here and in the US for me to have any confidence in them. There have been something like 10 revisions of the components. That points to a serious failure of design and product management at Ampeg. You might love the sound of this amp but it's got nothing to love when it's broken down! If you're messing about down the Dog and Duck then maybe you can risk using this amp and it won't matter much if the band ends the night without a bass player (although it would very much matter to me if I was in that band), but if you're in as serious playing situation you've got to sell it and get something you can rely on 365 days a year.

[quote name='xgsjx' timestamp='1393881286' post='2385501'] ....Is that with the Thunderfunk running them?.... [/quote] Yep. I have an email from Dave Funk saying that my TFB750-A has the uprated spec of the TFB800-B2. Which is: 800-watts @ 2-ohms 630-watts @ 4-ohms 305-watts @ 8-ohms

If Musicman can't be bothered to sell you a bass just because you live in the UK, I'd tell them to sod off and buy something else!

No. I think they are pretty evenly matched. I've put the 112 on the top and bottom and it hasn't affected the overall sound in any noticeable way. The CN range is an update on the AE cabs so any minor differences, if there are any, seem to disappear in the band mix. I also use the 312's for a jam night so I get to hear it from out front. All sounds just right to me.

[quote name='CamdenRob' timestamp='1393854041' post='2385002'] ....I hadn't thought of combining a 212 and a 112.... [/quote] 99% of my gigs are done with the 212 but I keep the 112 for the small and acoustic gigs that occasionally come in, and I add it to the 212 for the jam nights and very loud stuff. IMO 3x12's running at about half power sounds better than 1 212 running close to flat out.

2 x 212;s probably sound great on a stadium tour but really is overkill for anything else. I'd sell 1 of the 212's and get a 112 to replace it. IMO there's no point in selling a 212 and replacing it with 2 112's. I have a 212 and 112 which I can run seperately or together and I haven't played a stadium in decades.

[quote name='Geek99' timestamp='1393847683' post='2384891'] ....Didn't realise it was close to I drive.... [/quote] Not that close. It's about 20 miles if you drive, bus is probably further. You get a bus into the central bus station and another out to Fern Park. Took over an hour if I remember correctly.

I went there a couple of years ago while I was on holiday. Just 2 busses from International Drive. The shop isn't as big as I expected from looking at the website but it seems like the shop next door is full of stock waiting to ship. They were fine with me trying out basses and, after finding out I was English, Beaver came over for a chat. The phone didn’t stop ringing with enquiries and orders and when Fed Ex dropped off about 20 basses, the 3 of the guys set about testing, setting up and prepared for shipment to customers. It looked like a busy, professional and well run machine. After a lifetime of experiencing British music shops, present company excepted, Bass Central was a breath of fresh air.

We did a gig last year where the back line was supplied. The keyboard player was very surprised to find a midi socket on the Yamaha baby grand and plugged in his Hammond module. A grand piano sounding like a C3 through a Leslie was weird but worked just fine.

[quote name='xgsjx' timestamp='1393754648' post='2383935'] Running an amp at full load means there's more heat going through your amp's components, which is the trade off. I'd call that "extra strain". [/quote] Running an amp at "full load" is what it is designed to do and should not represent a "strain".

There is no "extra strain" on an amp running at 4 ohms!