JTUK

Great..... Tho it may depend if this translates to people who played or want to play with you. Poor sound is one thing that won't get you booked, imo.

[quote name='chris_b' timestamp='1469321199' post='3097433'] I'd keep the AE112's. Those are some of the best sounding cabs I've used. I used a Thunderfunk 550 and 750 with mine and another favourite was the now discontinued Markbass LM2. IMO an Aguilar TH500 works very well with Berg cabs. I've also heard that the Genzler Megallen 800 sounds pretty good as well. [/quote] Yes, no reason to get rid of a couple of AE's.... Thunder funk and TH are very good fits, IMO.

I prefer the PF setup to a combo like this. I wasn't a fan of the EQ stage of a BA type combo (forget the exact model) and when Ampeg try to get cute in that respect, they come up short, IMO. You should check it out but for me Ampeg struggle a lot against the competition.. or rather they aren't recognisable Ampeg at this pricepoint. But then again, I'm not a fan of the SVT 3 either, I'd far rather a tonehammer (by a considerable margin) but you are talking different money.

From a balance and positional point of view I like the 12th to be directly below the strap lock on the top horn. After that 21 or 22 is fine. All my basses will be like this.

[quote name='Gunsfreddy2003' timestamp='1469133568' post='3096097'] Update on this - bought an EBS HD350 and that paired with the SWR cabs and the 74 jazz with East pre-amp has absolutely nailed that tone and I love it. However, there is one big problem, I don't play 4 string live at all anymore so as much as the tone is great at home its not going to keep me happy when I gig. Interestingly I do have a Sire Marcus Miller and it sounds nothing like I want it to and compared to the Jazz it's really lacking. So the big question is what is there in 5 string that is going to sound like the vintage jazz with the East pre-amp? Is a Fender Marcus Miller going to be the best bet or should I be thinking Xotic or Atelier Z? I have got to get that tone but in a 5 string variant - so close to the Holy Grail of tone now!!! [/quote] I've got a 5st Sei with an East in it...absolutely nails MM... altho I'm looking for a different take on that sound. I prefer to use RW boards for a more woody sound. Doesn't hurt Jerry B tho... he was using Atelier with maple, I believe.

[quote name='machinehead' timestamp='1469042162' post='3095358'] Thanks. It would be interesting to know. Frank. [/quote] PM me but don't publish, if you don't mind

[quote name='machinehead' timestamp='1468880830' post='3094077'] Who is this designer JTUK? Spill the beans. Frank. [/quote] Not sure he'd want me publishing his off the record views... so I wont unless I ask him If I see he has said it in print, I'll link it tho..

Thought Vail Johnson was doing it..? obviously not.

How do you tell people you've not interested...? I'll usually say something that is a bit more diplomatic than I don't rate etc etc as you are likely to be saying that to that band leader and he is the one that allowed that to happen so you are directly critizising his decisions or leadership.

I tend to like reverseable upgrades... I'd put the neck on the body of choice.

[quote name='Roland Rock' timestamp='1468929568' post='3094373'] Isn't the Oral Exciter control effectively a mid scoop? [/quote] Who have you been playing with Aural Enhancer predates what Markbass and Thunderfunk use, IMO... which a rotary preset type control. The 550-B is a modern day take...not so modern as it happens, on the SM400... without the valve pre stage. They do use a valve simulation tho..

[quote name='JapanAxe' timestamp='1468953645' post='3094655'] 3-piece? I've had some great times in 3-piece bands, on both bass and guitar (but not at the same time). [/quote] Yes, it would have to be a pretty special 3 piece, but chances are it wouldn't make it past the 'dep' gig. Of course, every rule has its exceptions

[quote name='pete.young' timestamp='1468953581' post='3094652'] I don't know why more people don't use ups on PA. It protects your kit from unexpected fluctuations in per supply voltage and You can essentially ignore volume limiters. [/quote] I know a few gtrs players with valve amps who wont play venues like this unless they can bypass the cut-off. As I understand this situation tho.... the P.A is a choke point but it wont cut out. If all this was on the table at the quote stage, I'd veto the gig.

[quote name='spectoremg' timestamp='1468873782' post='3093994'] And that waster Chris Squire - if he'd used a P he might have got somewhere. [/quote] I believe he did...in the studio. It may have been a jazz tho.

Reasons for not joining a band...? Don't rate the drummer... 3 piece. Don't rate their version of the set. Take any gig because they need the money too much. All pretty much deal breakers..IMO

[quote name='tonyf' timestamp='1468921440' post='3094267'] ^^^^ This We've been reasonably lucky that every wedding we do has been with our own PA. As we use IEMs, I never take a bass amp so using a DI wouldn't bother me. TBH, I'd not worry too much about not being able to hear yourself. I've never had an issue with popping the IEMs out my ears and not hearing enough from FOH to monitor myself. There are gigs where things ain't going to be as controlled as you want them to be as a band. Yeah, you can be all precious about "your tone" but the harsh reality is that the day is about the bride/groom and the venue, not about the band. The venue will have installed the PA/limiter almost certainly because of licencing restrictions/complaints. The bride/groom/wedding party will have no awareness (or frankly care) about sound limiters and very often the first anyone finds out about it is when it trips. Ultimately, that's down to you as the band to work round it. Those are the rules. Doesn't matter if they're right or wrong, as professionals, you just have to get on with it. We've all had those ridiculous gigs where the crowd cheering will set off the limiter. These are the gigs where ironically the venue find themselves exposed the most. If a bride/groom can see the thing kicking off because someone happens to shout a bit too loudly, they see that as being unreasonable and not controllable. If it goes off when the band are playing, it's down to the band. I've digressed, others have probably put it more eloquently than I have . Personally, I'd not worry too much. It'll be fine, take a good DI, be prepared to compromise, enjoy the night and if all else fails, take the money and run. [/quote] That is fine if you agreed to all that in the first place.. you had the detail and made your decision. This is an agreement with the goal posts now moved, IMO, so not the same deal at all. You could refer this to the people who booked you ...and I doubt they'll love you for it, but if they couldn't get a compromise, you could be entitled to cancel.. This is why I'm not interested in weddings and only really do them for friends and only when I know stuff like this isn't in the deal. If you are desperate to take the money, then you'll have to comply. I'd still cancel if they couldn't reassure this was going to work out well.. which I suspect it wont. But soon there will be a point beyond guessing and they have to have time to find someone else. I wouldn't recommend giving this to another band I know tho...so it would be back in their court.

[quote name='Muzz' timestamp='1468872678' post='3093985'] FWIW, I think some opinions on Class D are behind the times with the newer generation of amps which have come out recently - I'm thinking about the Magellan, the RM800, the Subway, etc. Understandable as there's relatively few of them about. [/quote] Understandable............ but this conversation with the designer is a only a few months old and he has only just relased his new amp so he would have access the latest power stages. I'll check with him but my feelings about class D extend to the TH500, which is why I sold it. And I am definitely a fan of Aguilar.

[quote name='mikeycrikey' timestamp='1468867051' post='3093924'] Without wishing to derail the OPs thread, what reservations to people have with class D amps. Assuming that it's nothing to do do with the weight and portability off the class D what other issues do you have with solid state or valve amps [/quote] The output stage. I think volume isn't the issue..they can be loud enough but I feel they lack authority. Having sad that..plenty of amps do which is why my alternative to my class D is a big block with a heavy (very) heavy transformer in it. I was having this discussion with an amp designer of quite a reverered brand and he said the same thing. As much as he wanted to have a class D option, he couldn't find that that worked as he wanted at his price point. So, I get the impression that Class D doesn't work for bass, IMO, unless yu have a very capable (expensive) power stage which kind of floats against 99% of the bass market, at present..??

It would me..this late in the day. These may or may not be reasonable but they weren't there when the booking was agreed. If you wanted to pull out, everyone has lost of time on this. But then, I don't do weddings as a wedding band would, so altho I'd be inclined tyo cancel, some bands would rather just see the money at the end of the night and not really care one way or another. I don't see that as an attractive position by either side, but I understand it. If a wedding band and the money is the whole deal, suck it up and do what they want and on their head be it all.

[quote name='blue' timestamp='1468859046' post='3093841'] I don't get involved with what material we play. I actually like all The songs we play. Some I didn't initially like ,however over time I've grown to like them. Remember in the US it's tough playing and managing 4 hours of material. Blue [/quote] I can agree with that.... doing 2x45's or 1x70 mins means the band becomes the draw and the reason why people come to that venue rather than anywhere else. But because of that, the band can pretty much choose what they play. If people don't turn up, then you are doing 'something' wrong somewhere... But it is also important to know the gig and what the form is. The best pubs around here have a booker who knows what they want .. If that means 80's gtr then you need to match that or not bother. The more discerning pubs tend to want a good rosta, playing something different and lets see what you've got. These...imo..are the most fun gigs. You want paying but it is more about how much of a good gig it is...

[quote name='JapanAxe' timestamp='1468860625' post='3093863'] Just to be clear, this was never meant to be a P-bass crusade! It works for me but it may not work for you. [/quote] I quite agree and don't use one... but I can get quite close and my sound is 'Fender' I've done 'modern/modern as opposed to jazz/modern and even gone so far as some wouldn't have a non-fender on the gig...

Camco, Rogers, now you are talking. But yes, it isn't the only bass out there but my point is that it should be for a lot of players. I started my comments by saying or meaning that if I hear a band with a weak bass sound then it is very very likely not a P bass on the gig. When I depped recently the gtr was lamenting his regular guy had sound problems... amongst other things, and I said I agreed and also said 'he should get a P' and then how we laughed. You hear this a lot but the guy would never admit/agree he needed one... which is his core problem, IMO. He doesn't get that his bass sound is weak and therefore the band sound is weak..as a starter.

I understand the can of worms here..and how we then get into singles and passive and tone etc etc ... :lol;

[quote name='Dad3353' timestamp='1468851839' post='3093763'] I'm surprised, reading all of this, that Sir Macca ever got anywhere at all. A Precision is all there is in the Bass World..? I'm only a drummer, so I wouldn't know, of course, but I still say 'Poppycock', so there. You really are a funny old lot, sometimes. [/quote] He played a Hofner at not a discerning time... but it was still a pretty bassy bass. They have no other tone. cabs were pretty average too..? and bass amps in general) Plus, like a lot of doublers, needs a small bass which the Hofner is. He moved to a Rickenbacker pretty quickly when he had to go back out on the road in the 70's tho.. and had pretty much given up live with the Beatles by '67 which were probably the Hofner years. But the other...more pertinent element here is self mixing. If you haven't got someone out front, you need your stage sound to match the FOH sound. Subs will automatically beef up the foundation but if you don't use FOH then your stage sound is your 'FOH' as it were. This is where it is most critical that you underpin the band with your sound..because if you don't, no one else will. And...I have to say this is where small bass cabs/amps and weak basses can let the band down. I think.

[quote name='Coilte' timestamp='1468831917' post='3093552'] I have a GK MB212 cab and a GK MB500 head. Recently I thought I'd add another cab, just for that "bigger" tone (not for volume necessarily). I think that another 212 would be a bit "over kill" for my needs (not to mention budget...and space), so I thought a 112 would suit. I have being reading up on this, and it seems not to be an ideal set up because one cab (the 112) would be getting more power from the amp. The GK 212 cab is 600 watts at 8 ohms and the 112 I have in mind is 500 watts at 8 ohms. From my research, the 212 would have to be at 4ohms to balance things out. I'd value any thoughts and opinions. [/quote] I sometimes use a 212/4 (600w) and 210/8 (350w) to 'split' the power in... the jury is still out on this way of doing things and I think it is a bit hit and miss. Sometimes, I 'think' I can hear the 210 bottom out a bit... That is why I think a 112 and 212 pair is not a good idea. It might work but you'll have to try it over a period of time..by which time you are committed to buying it,