Prime_BASS

I don't know the science but question yourself, why when adding a bass pickup(neck) and treble(bridge) you get get more mids? I think Alex at barefaced goes over this over on his website though.

[quote name='Ant' timestamp='1341266465' post='1716262'] See I'd Velcro the thumpinator under the tuner and get another little pedal in its place [/quote] Good idea, but I don't really need much else on there righht now. Just a micro fuzz though, maybe..........

If you are wondering where Shep's bass drive went!? [attachment=112073:Gedling-20120628-00317.jpg] The only thing I don't like is my power mounting, the power cord has run acroos the input or ooutput, and the ratered power cord won't stay in unless you give it some welly. Will dismount everything to better secure and probably reverse the power supply.

[quote name='Musicman20' timestamp='1341259932' post='1716084'] This whole modern requirement of a flat EQ to sound great is crazy. You might well be missing out on a fantastic amp which needs a small tweak. Also, not all amps at their 'flat' setting are actually flat. Don't get me wrong, it's easy when it's good at 12 o'clock, but the EQ is there for a reason. [/quote] True - when at home I play with it mostly flat, bass cut though to stop the house rumbling haha, at a gig or rehearsals I EQ the crap out of the head so I can hear myself with out being ridiculously loud, but it depends on the gig. I like the way me and the bass sound through a DI so and for me MArkbass heads at least give me that sound out front through the speakers and through the onboard DI. I never used to fancy the cabs but since I've got two 2x10's andstacked vertically it's a gigging monster. I keep wanting to upsize the head tot he TA501 which has a more comprehensive EQ and will allow better cut of the boom in almost every room I am in with this setup.

Is that short/medium scale??

Depends what the stage is like and where the sound engineer wants the bass amp. regardless I move about a bit and stay close to the front so I can mount the stage monitor and waggle my dangle infront of the poontang.....

[quote name='Lozz196' timestamp='1341078287' post='1713645'] Surface area wise, a 212 is virtually equal to a 310, in the amount of air being pushed - I remember working it all out, from some equation that was on-line, but can`t remember what the equation was now. [/quote] LUL WUTS sosososo. Best thing to do when buying cabs? Go out there and try some. Ignoreing numbers, sizes and all that crap. You'll find one you like and that is all that matters really. A few things I bare in mind when buying a cab is obviously ohmage, wattage to some degree, hieght, weight, front or rear or ported at all and tweeter options. That's about it, these are things that matter to me. Also I bare in kind that if a 1x15 can perform on par with or out perform a 4x10 they won'ty sound at all similar, a single driver loaded cab will have a clearer mid range(or honky if that's your opinion) where as a multi-driver loaded cab may sound more full around the lows, in my opinion due to a muddy midrange.

With out actually looking, and with what I guess the panner function does, it'll just act like a fade out in mono, and depending rate or whatrever it'll just act as a sort of tremolo. Better in my opnion to use a tremolo, or something that generates LFO's, and have someway to change the tempo on the fly. A few with midi in can be changed with a metronome, lots have tap tempo. A LFO generator will make thew low end bubble and wobble, I'm not sure a pan would require any LFO manipulation to make the sound pan/fade. The only other way that simple is octave into a Low-Pass find the sweet spot on the cut off, and have the cut off controlled via expression. That way you can have controllable wobble, fast or slow to move in time with the beat/drums.

[quote name='EmmettC' timestamp='1341001656' post='1712830'] I have to respectfully disagree, it definitely affects the sound of all my basses, even with the mids rolled off it makes all of them sound a little more honky than normal, that's not necessarily a bad thing and it helps them cut through in the mix, but it is there and it's definitely more noticable on the active basses, but it does colour the sound. The EBS affects the tone too, but that enhances the ultra-high end, which I like, each to their own. [/quote] I play a lot using in Ear's and loads of times have just gone straight to desk, so will have to disagree with you. Markbass' output is very flat with a small bump on the low mids. Your basses are honky not the amp. To someone who has used coloured amps forvever it'll be a horrible sound. Me, I want to hear what I sound like playing that bass, and Markbass are one of few that can does this for me. Sat at the back of a room, through an audience the flat response makes more sense than a coloured mid-cut amp. Audible bass instead of low end rumble, boom and mush.

Love the Sandberg Basic I got off Oli AKA TRBboy Such an excellent bass, build quality, feel, sound. I haven't got bored yet so it must be good. Contemplating a custom jobbie though in memory of my old Sterling. Stphen

[quote name='dood' timestamp='1340736055' post='1708963'] I'm inclined to agree with this - and maybe that a limiter although a help may not be getting to the root of the problem, just hiding it. Maybe look at the causes of the speakers blowing first. For example, the usual cause is to force the speakers to do things they simply can't cope with. Speaker over excursion being one such problem. What cabinets have you been using? Do you find that your speaker cones flap around lots when you play low notes? - I mean, you can see the cones moving back and forth? Then it is likely you are driving large sub frequencies in to the cabinet and not getting anything really in return. Do you boost the bass control on your amp/bass/effects units? Too much bass will cause those speakers to flap around and depending on the cabinets you are using, you may not be getting that much back for all of that boost as many cabinets on the market simply can not reproduce any useful frequencies below say 45Hz - sometimes as high as 100Hz! A bass peak at 30 Hz will just leave the cones moving back and forth wasting energy. So, to sum up - instead of buying more kit, you might find that trying a few judicial changes in your signal path, you'll save money and speakers. Here's my fave tip to start with. Start with all the EQ controls set at neither boost or cut. Instead of boosting the bass control, cut some of the mids instead. This will have the effect of making your amp sound deeper in tone, but not boost frequencies some cabinets have trouble reproducing. You'll have a much clearer signal and without the speakers rattling about like mad, the ability to get more overall volume that they can produce out of them! Bonus! Obviously, without knowing what kit you are using, this is a general approach - but it will help. Good luck Doooood [/quote] +1 Maybe something as simple as a change in gain structure or as Dood has put too much bass. I got that SFX thing though and even on a four string it is extremely good, you'll only notice it makes a difference when it's not in the signal chain. Helps keep the cones from jumping around too, I believe the cabs I have have really high excursion anyway but all those low frequencies are helping anything. Everything runs a lot more efficiently. Some amps have this filter built in(some Genx Benz for example) to help stop the tremendous power killing cabs.

This is why I love HotRox in Nottingham, I've had to have several items ordered from them and they are always more than helpful to order 1 unit for me, with no complaints.

[quote name='isteen' timestamp='1340460217' post='1704748'] Nobody want to show their guessing skills? I like the number 3 Sound best, and I might guess it's a P bass. Who wants to take a shot at it, before the correct answers are revealed? [/quote] The sounds don't load up..... I know I can tell the difference, but between a J or P it's down tot he recording, and the Mix, as far too often the bass gets mixed down into some low end much so it could be played on a string attached to a baloon for all we know. Examples of a good precision sound recorded right and mixed and mastered pretty faithful is the bass sounds on Blink- 182's Take Off Your Pants and Jacket. It's very obviously a Precision type sound. A lot of the early Rage stuff is very obviously a Stingray. While a JAzzz sound can be pretty much copied by anything with 2 pickups - providing you arn't going for that extreme nasal sound at the bridge.

Orange 200B into any ampeg 8x10? You get pears.

Is this sold yet?

Barefaced midget is an excellent cab, for the money it out performs a lot of other cabs that are more expensive. 9 kgs and it has excellent bass responce for something so small. Only other thing I can suggest is getting 2 markbass 1x12 clubs. They are pretty darn small and light weight, sound pretty good, and you can tilt the top one back to better hear yourself on small stages. Depend son your own personal needs mate. What works best for one person maybe totally different to what might work for you. I never thought that two vertical 2x10's wouold work for me but on the gig the sound is magical.

Ant from Castrovalva, also Ant on here has his Pearce BC-1 preamp on his pedal board, which makes more sense since that is where his sound is from and means he has the right preamp for his work and just has to stick it into what ever amp is on stage, through the power in or effects return slot.

Did the local Carnival again yesterday lunch time. Despite the weather poor mis-management as always, and our set going down from 45 minutes to 15 because of late bands rocking uop when they want and taking for ever to set up a frigging keyboard. The actual show was decent, nice turn out and we played well, sound on stage was good, sound FOH was good, no masive mistakes on anyones part. The likely hood of going wrong with 3 songs is slim though. Wish we could have done a few more though. It was also the first outing for my dual MarkBass TRV102P rig. If I'm honest I've been a little dissappointed with it's performance in my bedroom, but as we all now it's on the gig where it matters. And this does exactly what I wanted it to do and sounds excellent and massive. Didn't need it balring out and the sound guy was happy enough to have it as the only bass monitoring oinstage. I had nothing in my wedge and could still here everything perfectly mixed. sound on stage has definitly made my mind up about keeping this, and even though one is heavier than the amazing Barefaced compact, the small form factor more than makes up for portabality. I managed to get from the house to the van iin one trip. Just need to fine tune the effects department. Very happy being a markbass fan boy right now.

Any feedback on the low end reponse on the GreenMile???

If you think about it a low B fundamental is 31hz, so as I understand(I'm no acoustic engineer) then the second harmonic would be 62hz so and this is what we hear more (closer to the midranger, more than the fundamental anyway) so any cab that has the ability to pump 60hz at a decent SPL that will keep up with the mids of the cab will be good for a low B. A lot of decent cabs out there will do this anyway. What also helps is having a decent bass with a decent Low B, nice tention, more midrange etc. All helps inm getting that low B out there. The best B I've heard was on Shep's old Roscoe through his rig. Was immense.

[quote name='Mr. Foxen' timestamp='1339891886' post='1696072'] Bear in mind the wattages you quote are thermal limits, not breaking limits, plenty enough power there to break both those cabs if you don't listen for them complaining. [/quote] true. I run a 500 watt heade into a 400 watt 4 ohm cab at rehearsals and it's fine. Use your ears, if it sounids liek something is wrong, stop.