ThomBassmonkey

I don't know if it's the same with all kickback designs, but the GK ones seem deeper to make up for the loss of internal space. It does make them awkward to carry (that and the fact the RBH series weighs about the same as a small building per cab) but it does have it's uses. [quote name='Crazykiwi' post='1022714' date='Nov 13 2010, 06:03 PM']I loved my GK RB700 combo and for small stages the tiltback feature was invaluable for getting sound to my ears. Otherwise the amp would be blasting into the audience below my knees. I'd still have it if it hadn't started giving me back problems. I've been approaching custom cabinet makers over the years with requests to build a lightweight tiltback cab and strangely enough noones interested. Ended up doing the initial design for one myself but haven't got the power tools yet to start.[/quote] [url="http://www.thomann.de/gb/gallien_krueger_neo210.htm"]http://www.thomann.de/gb/gallien_krueger_neo210.htm[/url] ? 210 cab, kickback design and only 40lbs. They're pretty easy on the bank too.

What happens when you want to use a wireless system? I'd rather have a wireless system and a battery in my bass than no battery and a lead hanging out. The only problems with batteries is they run out, which shouldn't be a problem if you change them every 6 months. A battery would probably weigh less than a lead dangling out of your bass and if you trip over the battery that's powering your bass, you're doing something very wrong.

[quote name='Gilbert' post='1026686' date='Nov 17 2010, 10:41 AM']Wow, thanks for taking the time to write back with so much info. To be honest, my budget has taken a bit of a blow since yesterday, due to car trouble. I will have a look at the amp head and cab prices and weigh up my options. I play original music of a folk-rock genre, and also a bit of funk and heavy rock. Although I would love to have ample wattage and multiple cabs, I think the ease of use of a single uniit would suit my needs for the foreseable future. Thanks for the advice and I will report back once I have made up my mind.[/quote] No worries, sorry to hear about your car, hopefully it doesn't hold you back too much. There's nothing wrong with combos, they're just not as flexible with different cabs and if you're thinking about the long term, you'll probably end up spending more money if you go that route (combos would be cheaper for the short term, defo). I personally really dislike Ashdowns, I've used them a lot and I can't seem to find a sweet spot in the EQ, they either sound fat and muddy or they lose all the beefy low end once you've dialled out enough bass/in enough treble to gain clarity. Plus the DI on them is often noisy and they have been known to be unreliable (though I think that's not such an issue recently if you're buying new). I'm a GK endorsee though, I play them because I love them, so I'm obviously gonna be very biased hehe.

There's so many factors that affect the volume of the amp, it's far more than just the wattage of the head (there's more info on that around these forums). The MB115 should do you, but it's worth noting that you can't add an extension cab to it. If you go for the mb210, you get 350w without the extension cab, but you can add another speaker and get 500w out of it. They're still bargains too, though I am bias towards GK amps. Any of the GK gear would suit your need perfectly, as another thread on here showed, most people that use them run them flat, or close to flat. The 4 band EQ is pretty easy to use if you do want to use it. If you go for the lightweight MB series heads (or combos) then they have fairly simple controls (even the bi-amped stuff is fine once you get used to it just a little complex at first). The MB heads are extremely light (under 4lbs) and at 500w are very powerful for their size and weight. GK also do a range of neo cabs that weigh very little. I'm tempted to get a micro rig of a mb500 and 2 1x12 cabs myself, it should be enough for most venues and would weigh in at under 64lbs for a powerful and very light rig. The biggest advantage you'd see from using a head and cabs is at gigs where a bass cab is provided, you could just take along a micro head in your gig bag and not have to worry about cabs. It'd mean you could take one gig bag with your bass, leads and head in it and still be using an amp that sounds like you and you know how to use. it also allows for upgrades more easily, like I said, the mb115 can't have exntension cabs, the mb210 you can add another cab to, but you're still stuck with that 210 "cab" that's part of the combo, if you ever wanted to upgrade to a 4ohm cab, like a 8x10, 4x12 or you wanted to use 2 4x10s, 2x12s or something similar, you'd be stuck. I think you could do far worse than to get an mb500 head and a cheap 210 (GK have a budget range called BLX, which are very reasonably priced, never used them myself though) to begin with with a mind to upgrade the cab later if your budget won't stretch at the moment. It might seem like a lot to pay out when a mb210 is probably a slightly better amp (the speakers will be better), but when it comes time to upgrade, it would make a big difference since you'll only be replacing £120ish worth of speakers instead of £350ish worth of amp.

I went over to Bass Direct today, they didn't have any Bongos in, but they had some Dingwall Combustions, so I had a go on one, it was brilliant. Definitely gasing for one now. The neck felt a little wide and long, but it was easily playable so that doesn't bother me. Gonna put up a wanted thread now.

If these were around now new, would you be prepared to spend £1200+ on one? Because for £750 you could get a 2nd hand bass worth that much new (even more if you get a good deal). How about thinking that in 20 years a CVJ would be fetching as much 2nd hand as a year old USA Jazz. If you find one that has just the right mojo and all the right ingredients to be a great bass for you, sure, it's worth it. I can't personally see how you could justify the price purely on the fact it's a JV though.

If you want something a little different and individual, check out SX basses from Rondo Music in the US. They're pretty cheap and you can upgrade the pups in them and they're still cheap but with great pickups. The wood is pretty decent for the price you pay. Only problem is they're not as appealing when the exchange rate is in the current state, it's improving again though slowly.

To be honest, I've not been into Nottingham in a few weeks, but every time I've been in there's been no choice at all. Maybe I should pop in and have another look. I am going to buy 2nd hand privately. I'm using Roto Swingbass at the moment I think. I'm not really a string conesseur to be honest. hehe Thanks for the advice guys, I'll definitely make my way to a couple more shops to look around.

The problem with Nottingham (as I said in the first post) is that all the shops there just sell Fenders and a few Ibanez. Derby's a little better, but there's still only maybe 1 SR and a Thumb BO5 (same as mine). I'll have to try out Bass Direct, never really heard of it more than in passing. The reason I say I want 35" scale is because on my Warwick I still feel it's a little slack when I get carried away. My Warwick is a brilliant bass and I have no intentions of getting rid of it (or even replacing it as a main gigging bass currently) but I feel like I'm compromising on the playability when I fancy something with a thinner neck and higher string tension (without actually putting thicker strings on it).

Is the bridge or saddles set so the action's as low as it'll go? If you can (or have someone that can help) hold down the 1st and 13th fret, then try tapping at the 7th fret, there should be enough of a gap that you can hear the click of the string hitting the fret, but not much more. I think it's normal to have a gap of roughly credit card thickness. If it's more than that (or there is no gap, but I doubt that'll be the case from what you've said), you might need the truss rod adjusting. Try it on the E and G strings, the gap should be the same on both. It sounds like your tech is setting it up, then as the truss rod settles in (as they need to for a while after a proper set-up) it's settling with a little more bow than it was set up with. It shouldn't be a problem in the long run (as long as there's no issue with the neck). It might be worth leaving it with a guitar tech for a week or two so they can take a look at it every couple of days and keep tweaking it until it's settled in the right position.

I am trying to find as many as possible to try out, but all the shops around here only stock the usual suspects (Fenders and budget Ibanezes), I don't think I've ever seen a Lakland or Dingwall in the flesh. Same for other basses that could potentially fit the bill like Bongos, Shukers, G&Ls. If I have a good idea what would suit my needs, I'd be prepared to travel to give them a go and could organise a day out and about going to shops a bit further away for it.

Well I've managed to sell my amp now, so I can afford to be a little more picky than when I was trying to trade my amp since I'll hopefully have the good solid cash to buy something that fits the bill. My perfect bass would have: Maple board (not essential, but I've never had a maple boarded guitar/bass and I love the look of them). 35" scale or fanned fret (not had a chance to have a go on a fanned yet, hopefully on Saturday at the bass bash). Fat, punchy tone but still well defined, I like fairly growly basses too. I was thinking maybe J/J config, but I do love the sound of Bongos, so I'd happily go with MM styles too (especially if they have a coil tap). 5 String (essential, won't even consider 4 strings, maybe 6 string but I'd rather stick to 5). Ideally medum string spacing. £800ish, could maybe go up to £1000 if the bass was really nice and a good deal. Looks a little different, it doesn't have to look like a Carl Thompson or a Wishbass, but I don't want just another Fender clone. Even something like a Lakland with a nice top looks different enough to me. Must be red or natural (preferably) or maybe black. Just personal preference, but if I'm going to spend a lot of money on a bass, I want it to look right. I really do like my Warwick Thumb BO, but I'm a very heavy player so I'd rather go 35" scale for the extra tension, also after playing a few Jazz style basses, I realise that I still prefer the thinner necks (I played an Ibanez BTB for 10 years and the neck was great, but I don't think I'd go back to Ibanez at the moment). Any suggestions are more than welcome. Thom

I've used GK RBH cabs for the last (almost) year and I don't think I've ever really used them tilted back. Partially because with the 2 2x10s I've had them stacked so they have the height and partially because it's handy to be able to put the head on top (which I wouldn't feel safe doing if it was tilted back). Plus the 410RBH doesn't look especially safe when tilted back, I've wobbled it while it's been tilted back and it feels solid, but I wouldn't feel happy gigging it in that position.

Hey Dan! I don't really check the introductions forum so sorry I didn't see this, just thought I'd welcome you after your post on FB.

Here's a pic of mine (properly vertically alligned speakers instead of that wonky gubbins), it never once collapsed into a big pile of dust!

When you talk about 4ths and 5ths between strings, you're talking in ascending scales. If you're in the key of E major (E minor would have the same 4th and 5th anyway for the record but with a flattened 3rd), then E is the first, then F#, G#, A, so A is the 4th from E. If you were tuning to 5ths (something I've been tempted to do before so I can have a larger range on a 4 string, but I'm happy on 5 strings at the moment) if you started at E, it'd be E, B, F#, C#.

I bought a Brice HXB406 quite a few years ago now (before they shipped to the EU, i had a friend bring it over) and it was brilliant for the price. Zach (Jarhead on here) owns it now and seems happy with it. Look up the SX range, they're very popular basses for modding because the woods are to a good standard for the price and the electrics get changed anyway.

Stacking drivers vertically means that it brings the speakers nearer to ear height so the player is more likely to get a clearer sound on stage due to getting more treble (at least that's my understanding of it). As for them being wobbly, most cabs have stacking corners now, my gallien 210RBHs were very stable stacked vertically, I always checked to make sure the ground was flat, but there was never enough give to make me concerned.

In all fairness, I don't think it's that a vertical 4x10 would look strange (though it would, but only because we're not used to them) but why make a vertical 4x10 which would stuggle to be transported when most people (myself included) would go for 2 2x10s (which I had until recently). Most of the people who have the right (i.e. big enough) transport to move cabs as tall as a vertical 4x10 would probably be using 8x10s or 2 ("normal") 4x10s anyway, given the choice.

Saying I hate something isn't agressive, it's a statement. I hate abuse, I hate disease, I hate the fact people take items that can be inspirational and hide them away. All just factual statements. Unfortunately (in my eyes) all 3 exist and will likely continue to exist until long after I'm gone. Suggesting that I buy the bass if I have a problem isn't really reasonable (I'm sure it's fairly obvious why that for the price it's worth, suddenly asking someone to make an offer when they've shown no signs of interest in buying it isn't reasonable), which is why I saw your response as agressive and assuming that I've said it belongs to the people (as your post showed you assumed I said) was way off the mark as I'd specifically said that it belonged to him and what he did with it was his choice, which is why I assumed you hadn't really read my post. You repeating the "offer" at the end of the last post doesn't make me see your posts any less agressively. What you're basically asking about the R&R HoF is "Why should he do something that could benefit a lot of people by putting a popular item on public display when the people who run the HoF wouldn't deprive a lot of people of veiwing an item by letting a private collector take it home?" That's not a logical statement or question at all. The point of museums and exhibits is that as many people as possible get to see them. Yes, there are places like Hard Rock Cafe that put up items for their own profits (and indeed, privately owned museums, galleries etc for profit, I don't know whether the R&R HoF is privately owned or not, though it wouldn't change my views) but they're still publically displayed and the people that could benefit from them do have access to them (even if it's at a price). I wasn't offended by your post, just didn't see why my post warraned such an agressive reply. I'm not going to go any further into this, it's obviously not going to result in a productive conversation so I'm going to leave it be.

[quote name='Lorne' post='1013888' date='Nov 6 2010, 12:13 AM']Actually, he paid rather a lot of money for the bass, sure no way near as much as if it had been correctly identified as the Spinal Tap bass, BUT You don't know the guy, You have no idea of his thoughts He said to me he was thinking of lending the bass to the R & R hall of Fame, But I advised him against it, why should he, what would they say if he walked up to them and wanted to Borrow something? Why do people think that because something was used in a film/ band/ history or whatever, that it automatically belongs to the "People", It doesn't If it means that much to you, perhaps you can offer him a lot of cash, and donate the bass to the R & R hall of fame yourself ?[/quote] In my opinion instruments are little more than tools. The situations they've been in can inspire people, but in the situation where someone has an inspirational instrument then removes it from the public eye, it's simply a tool again. I don't understand the whole instruments as art (like PRS dragons) or any of that mumbo jumbo. I went to the London International Music Show a year or two ago, they had the guitar that Tufnel used at the Live Earth gig, just seeing it and knowing it was used by Spinal Tap made me grin. I just feel it's a shame that that's never going to happen again with that bass. You'd do well to read posts properly before starting to flare up at people. I specifically said that it's his money and bass and he can do with it what he wants, I just pointed out that it's a shame, which I think is clear that it's only my opinion. If you'd rather everyone spams "IMO" or "IME" in every post so that you don't take everything as fact and give agressive answers, maybe you should think about how you view forums and the internet in general.

[quote name='Lorne' post='1013582' date='Nov 5 2010, 06:22 PM']He usually gigs either his own make of basses, or, funnily enough, gigs a Fernandes B.C.Rich Eagle copy. He doesn't like to risk his B.C.Riches out live, especially after having a Mockingbird stolen from him from a load out in New York in 1987, I found it for him in 2007, so he now has it back [/quote] I hate this, some great history going on with this thread for a very interesting and symbolic bass, then it's gonna get hidden away in someone's personal collection where only a few people can enjoy it. It's his money and his bass, so his choice, but it's a crying shame.

I don't feel that it's an argument, it's all open to interpretation. There's no way we could ever find out a definitive answer since people all have different levels of natural musical ability so there's no way to have a control with one person not learning theory and another one doing it. So there's really no point trying to assert your opinion or experience as fact (not that it stops some people trying).

[quote name='silddx' post='1013174' date='Nov 5 2010, 12:22 PM']I think it's down to how creative and confident people are. I can imagine there are some people out there would would actually go backwards while going forwards but really is down to their own lack of confidence to break out of established thinking. These people were rigid anyway and probably didn't have much to give to the general public anyway. I can't really see how learning theory and notation can hold anyone back. I can see how it can have little point in some circumstances though.[/quote] Agreed, but with all the patterns in theory it's easy to fall into using them. I'm in that trap at the moment (and well aware of it, it's something I need to sort out), that's not to say that theory's holding me back or that I'd be better off without it, but getting past that point is my next obstacle that I need to over-come to improve my playing. I still generally hear basslines in my head and work them out when I'm writing, it's more jams where I can get stuck doing the same things. If someone wrote songs by playing and testing things, sticking to the same few patterns would hold them back so in that sense it would be better to be without the theory (or progress past that stage). Some people aren't as naturally musically inclined as others and for them, having a framework of patterns to work off would be like using a crutch instead of learning to walk on their own.