chris_b

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!

Apparently a Babe Ruth number, The Mexican, is very popular with skate boarders in Canada, which was enough to get the band back together for a few reunion gigs in Quebec about 3 years ago.

Small world, tomorrow I'm playing with Ed Spevock, Babe Ruth's drummer from 1973.

The general rule is to steal everything and apply it where you feel it fits. Learning other people's stuff can lead you in directions that you wouldn't have thought to go on your own. By the time it's gone through your brain, and into the general "soup" of what you play, and then come out through your fingers it'll sound like you anyway.

I don't think your combo has a speaker out so you're stuck with an underpowered heavy lump. What's your budget? I would recommend at least a 300 watt amp (or save yourself an upgrade by going for 500 watts right now) and a 4 ohm cab (if you're getting a 410 or 212) or an 8 ohm cab if you go for a smaller (115 or 210) cab now with the intention of adding another one to it later. Don't get the Ampeg PF500, they have a reputation for failing, but the PF350 and PF800's seem to be OK. You'll get better value for your money if you buy used. There are some great amps and cabs in the For Sale section.

If the bands you mention are doing that in pub gigs why are they still playing in pubs and Prince is touring the world?

[quote name='JTUK' timestamp='1393591949' post='2382299'] ....What do you drive the 112 and 212 with, Chris, and are they the same impedance so the split is equal..??.... [/quote] The CN212 is 4 ohms and the AE112 8 ohms. This runs the Thunderfunk 750 at 2.6 ohms, and each 12 gets the same power. A story about overdoing things: I took both Aguilar TH500's (gain and masters at 12 o'clock) to a loud gig recently and ran 2 AE112's, 1 CN212 and daisy-chained the amps. That really sorted the guitarist out, but neither the drummer or me could hear him, so I had to turn down the master's down to 9 o'clock. It was all very silly, massive overkill but 1000 watts and 4 12's was the hugest, fattest sound I've ever had. I could have lost fillings. As it was, my ears were hurting even with the ear plugs in so I'd have had to turn down anyway. It was an interesting experiment but the Thunderfunk and 3 12's is loud enough. The drummer thinks I'm crazy and the guitarist was speechless, but now I know I can take down even the loudest guitarist.

Her husband was the Haggis Horns sax player who died a couple of years ago.

Fantastic band. I would be there but i'm gigging. Check them out on Youtube.

Tom Barney, great bass on Alive In America.

A CN212 will have small differences to 2 CN112 cabs (2 tweeters for instance) but I would imagine there are more similarities. Any differences will be small, subtle and will probably be unnoticeable in a band context. I’ve been playing a CN212 since the middle of last year. It’s the best cab I’ve owned and I would recommend one over anything else I’ve played. Having said that, people are still selling them, so you really have to hear one to be certain that you’re on my side of the fence or not. The sound of most good cabs will be influenced by the amp and bass you’re using, but Bergantino’s are not fussy cabs. They will sound very good with a wide range of amps and in a wide range of rooms, and bad rooms are the cause of many of the sound problems bassists have to deal with. A 112 is a very useful cab if you need to play low volume gigs but in my opinion anything louder than that requires 2 112 cabs. I played 2 AE112 for years because of the range of gigs I did and because 2 light weight cabs were good for my back. I wish the CN212 was lighter but 2 CN112 cabs are expensive. 99% of my gigs are done with the CN212. I haven’t sold my AE112 cabs yet because I still do acoustic gigs and I run an AE112 and CN212 together (or use all 3 AE112 cabs) for my "mad loud guitarist" gigs.

I cut the strings at about 4 1/2 inches (12 cm). I get a neat 3 winds.

[quote name='MoJo' timestamp='1393506818' post='2381128'] ..... Neither band I'm in uses deps so when one band gets a booking, it rules out all the other bands taking a booking on that day. It has and still does cause feelings of resentment.... [/quote] This is all very silly. You guys are the cause of your own problems. Use deps. I’ll send the bill. My consultancy fees are very reasonable.

That's a good idea.... take a low priced bass that plays well and make it sound as good as an expensive bass. The pg looks fine. I think a white bass needs something to make it stand out.

I love them so much I have 2! I know of 3 sales which were for upgrades.

You can't gig a 1 x 8 45 watt combo. That just won't work. There's a GK 200 watt 112 combo in the Sale section right now which might.

Everyone should know about the others, and accept that you are in more than 1 band. You will have a "main" band. There has to be a pecking order. First in the diary gets it unless another gig comes in with a long enough lead time to get the dep involved. Make sure you have good deps on hand. Always make sure you're better than the deps. Gigs always top trump rehearsals. What rehearsals?

[quote name='Adee' timestamp='1393350584' post='2379155'] ....I have an insatiable itch.... [/quote] Put some cream on it and make it go away.

[quote name='LukeFRC' timestamp='1393401205' post='2379688'] ....I would say I don't like it.... [/quote] Acme cabs are quirky but great at reproducing the full and proper sound of a bass. It might not be what you're used to but it's a serious upgrade to your tone. You'll sound good in a band and blow other bassists out of the room!

[quote name='CamdenRob' timestamp='1393401259' post='2379689'] ....cocooned in bubblewrap, in a case which is also cocooned in bubblewrap, wrapped in thick cardboard with an entire roll of parcel tape holding it together.... [/quote] +1 I've only shipped one bass and I did the same. This was [i]not[/i] going to end badly, so the bass was in a hard case (strings slightly slackened off), surrounded on all sides by expanded polystyrene sheets in a heavy duty cardboard box (which I got from a local bike shop). After all that the package exceeded Interparcel's max size, and I think I used DHL in the end.