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Question for the thread: My band recently broke up and I ended up tossing my Acoustic 410 cab because it was kind of a piece of crap and I'm not gonna be playing shows as much. I kept my Traynor tube head though because it rules. I'm doing more home recording lately and I'm thinking of buying a smaller, more manageable cab that I could play shows with in a pinch, but am mostly going to be using to record (I've been recording bass through a DI box in the past, but I've never gotten a standalone DI bass sound I've really liked, and recording in a proper studio recently reminded me of how good a proper bass cab + DI can sound together). Anyway: at around the same price point, should I go for a 115 or a 210, and why? Leaning towards a 115 but am open to suggestions.
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Dec 7, 2016 19:33
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Uncle Boogeyman posted:Question for the thread: My cabinet is a 4x10, my practice amp is a 1x15. Much prefer the sound of 10s. The 15 is great for what I bought it for, but very "boomy". If I were starting over w/ cabs from scratch, I'd be looking for neo 12s, myself.
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Dec 7, 2016 21:11
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pumped up for school posted:My cabinet is a 4x10, my practice amp is a 1x15. Much prefer the sound of 10s. I almost bought an Eden 112 off craigslist for cheap but when I looked at the specs it kinda seemed like my head would barely fit on top of it. probably a minor complaint, but if I do end up gigging with it I don't want the head to fall off.
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Dec 7, 2016 21:14
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I'd get a neodymium 4x10 if i was you. Super light, more versatile than a 1x15 but can crank out more than enough volume for a live gig. 2x12'' cabs are more of a curiosity for bass, i know some people use them but I'd stick with a 4x10, much easier to get a good one for a reasonable price.
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Dec 7, 2016 21:56
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yeah I'm sick of lugging around/making space for a 410 though which is why I wanna downsize in the first place specifically I've been looking at the fender rumble 115 which new is about 100 bucks cheaper and 20 pounds lighter than the 410 model. Uncle Boogeyman fucked around with this message at 22:14 on Dec 7, 2016 |
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Dec 7, 2016 22:12
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Uncle Boogeyman posted:yeah I'm sick of lugging around/making space for a 410 though which is why I wanna downsize in the first place here's some high end stuff that's ridiculously light. 30 kg's for a 6x10! http://barefacedbass.com/product-range.htm
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Dec 7, 2016 23:01
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I play through a 2x15 at home and use a 2x10 at gigs and practice. I really like the sound of the 2x15, but the 2x10 holds up just fine. I'd say you could probably get along with either.
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Dec 7, 2016 23:09
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A sound engineer I last recorded with said that a 1x10 element will give more bass out than a 1x15 or a 1x12 and he only uses a 2x10 when recording bass. I've got nothing to back this up with. Dyna Soar fucked around with this message at 23:21 on Dec 7, 2016 |
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Dec 7, 2016 23:13
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That sounds like he was either talking poo poo or explaining himself badly somehow. I'm pretty sure a cabs bass response has waaaay more to do with the cabinet design that the driver size. For a comedy opinion, I record using an old Yamaha 18" sealed cab with a Celestion driver that I think must have come from a PA system or something. It is the fattest, roundest bass sound I have ever heard and the cab itself is not too big or heavy. So that means you should definitely get an 18" cab instead of those puny 15s or 10s. For real though, you just to try some cabs that fit your weight/size requirements and go with the one that sounds best. There isn't really a sound that's inherent to either type of driver since, as I said, it comes down more to cab design. I think the biggest advantage of sticking a bunch of 10" drivers in a cabinet is it lets you get more power out of a smaller package when compared to cabs with 15" drivers. That's not really relevant though if you're recording though so you're better off going with what sounds best.
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Dec 7, 2016 23:58
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Bill Posters posted:That sounds like he was either talking poo poo or explaining himself badly somehow. I'm pretty sure a cabs bass response has waaaay more to do with the cabinet design that the driver size. He was high for most of the recording process, hah.
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Dec 8, 2016 00:05
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As far as I'm concerned, modern neo-loaded 1x12's are the only things anyone needing a bass cab should be buying nowadays. A good pair will cover all reasonable situations.
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Dec 8, 2016 01:37
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Whilst that is a fair and rational position, you will have to tear my fridge sized cab out of my cold dead hands (cold and dead because it fell on top of me when I was trying to move the bastard thing out of the garage).
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Dec 8, 2016 04:25
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Bass cabs with 12's? Poppycock. Go with 10s. A 2x10 will have plenty of boom, but it'll cover a much wider spectrum, and more evenly where it counts. A 1x15 is good for a combo, but only because there are more of those than combos with 2 10" drivers. I have a 410 and a 215, and I only use the 15s when I just need extra boomy low end (like if I'm playing outdoors). In my experience, 15s just don't have the range that 10s have. Yes, they have the lows. But that's all they got. Of course, that's just me. It's all academic and opinions. Test out some cabs and see what you like best.
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Dec 8, 2016 06:22
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12's for bass can be good, especially paired with 6's because gently caress A TWEETER Wait, maybe those were 10's, can't remember now. I'll take a look, next practice. Jeff Goldblum fucked around with this message at 06:53 on Dec 8, 2016 |
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Dec 8, 2016 06:49
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Why not both?   Traynor TS50 head running JBL K140 15" driver in newer Yorkville ported cab. Markbass CMD102P 2x10 combo
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Dec 8, 2016 08:47
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Both is best.  Eminence Neo 12"s, 6" compression driver for mids, plus a tweeter. A horn loaded sub with a 10" driver is next on the build list. It will be almost as big as this cab. Paired with my 110, they will be a lot louder than this sucker.
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Dec 8, 2016 13:15
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No input at all guys?  Southern Heel posted:Welp finally pulled the trigger on a bass (after getting shot of my CV 60's P-Bass last year) and decided to go balls deep:
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Dec 8, 2016 14:54
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That bass is notorious for giving people rear end cancer, you should give it to me... Because I am immune to rear end cancer. Just buy it, looks fine. I'm not personally a fan of unlined fretless bass's, but if that doesn't seem to be a big issue to you, go for it.
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Dec 8, 2016 15:12
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Constipated posted:That bass is notorious for giving people rear end cancer, you should give it to me... Because I am immune to rear end cancer. I'm curious, why not? Double basses are obviously unlined, as are violins, violas, cellos.
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Dec 8, 2016 16:40
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I play with a Phil Jones Bass rig so I'm playing out of 5" drivers. I got a new amp the other month with an extension cab, so I'm now up to 8 speakers. Previously I was playing with my briefcase amp which only had two 5" drivers. I frequently get compliments on the sound and the guy I normally play with was bummed that I didn't bring the briefcase amp last gig. That said, not all cabs are made equal and there's a fallacy that bigger speakers = more bass. I obviously prefer smaller rigs since most of my gigs have PA support and that's the way most of the audience hears my playing.
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Dec 8, 2016 16:43
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I've been playing for the last year or so almost exclusively through a 1x8. It's enough if there are no drums involved. gently caress carrying heavy poo poo.
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Dec 8, 2016 17:31
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Actuary X posted:I've been playing for the last year or so almost exclusively through a 1x8. It's enough if there are no drums involved. gently caress carrying heavy poo poo. We live in a different reality
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Dec 8, 2016 17:31
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silvergoose posted:I'm curious, why not? Double basses are obviously unlined, as are violins, violas, cellos. I have an upright and unlined fretless bass, so I can offer some perspective:  (and a recently re-organized music/ PC racing nerd room in the basement) With classical stringed instruments, there are more solid opportunities for muscle memory. Violin family instruments (including viola and cello) are tuned in fifths, so one hand position gives half an octave of range. When they need to shift up, the curve of the heel (where the neck meets the body) gives very clear feedback for hand position. You don't get that at all on electric bass until you are waaaay up the neck. Because of their extended scale length this is less true on cello, and even more so on bass, but that extended length also allows more room for error because 1/8 inch will be a very small pitch change in the typical playing position. An electric bass has a scale length between that of cello and upright bass, but it has a very distinct disadvantage: playing position. Upright and cello are built and played in a way that gives the player much better auditory feedback. It is a lot easier to hear the subtle pitch differences. If I think I'm off, I can tilt my head closer or against the neck and get a very clear idea of my intonation. Violins are held right up to the ear, so they get even more feedback. You just don't get that feedback with electric. Also, a note sustained by a bow is easier to intonate than a plucked note. There's more, but I think that's enough for today. Lines will help to compensate for these disadvantages. You can do just fine with an unlined bass - but it is much more difficult than a lined bass or an upright regarding intonation.
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Dec 8, 2016 17:39
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Cool! I'm a classically trained violist and just barely able to make things sound like music on a fretted electric bass, so it's actually fascinating to me to hear all of that. Thanks!
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Dec 8, 2016 18:16
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Lines on your fretless increases the chances that you'll stick with it, and that you'll actually take it to gigs. Having lines is a godsend on gigs where you can't hear yourself well enough to tell if you're in tune or not - I've certainly been bailed out by it. The muscle memory & finger replacement on upright is more reliable than on electric due to the stretch you have to make to get to first position plus the instrument being anchored to your body instead of the floor.The Science Goy posted:Both is best. Yeah, by "modern" 1x12's I mean things like this, with some flavor of Eminence Kappalite and a mid driver. Things like the small Fearful/Fearless cabs, Baers, LDS, Barefaced, Audiokinesis, even the mid-loaded Avatars. Yours is the same concept, just with a couple stuck together. They can be expensive but I have never come close to the limit (in a very loud tech metal band) with a pair of Baer ML112's, and each weighs 35 lbs. I also can just take one and blow out every other normal-volume / non-metal band I play with. Everyone makes a Neo loaded 1x12 + horn cab nowadays, and those can be really good too but many manufacturers use house-made speakers that aren't as good as the Kappalites and the mid-driver is very important for volume. If you're picking up used stuff cheap then whatever, but if you're spending cash speaker tech has made some huge strides in the last few years. DEUCE SLUICE fucked around with this message at 20:49 on Dec 8, 2016 |
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Dec 8, 2016 20:19
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VT Bass, Class-D head, and half the places we play have a house 8x10 cab. Best of all worlds. I have an Avatar 2x12 neo that's light enough for when I have to bring my own, but I'd love to get 2 1x12s someday.
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Dec 8, 2016 20:28
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DEUCE SLUICE posted:Lines on your fretless increases the chances that you'll stick with it, and that you'll actually take it to gigs. Having lines is a godsend on gigs where you can't hear yourself well enough to tell if you're in tune or not - I've certainly been bailed out by it. The muscle memory & finger replacement on upright is more reliable than on electric due to the stretch you have to make to get to first position plus the instrument being anchored to your body instead of the floor. Also useful information; I don't know if I'll ever go to a gig, it's solely (for now) home solo noodling, but hadn't considered that.
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Dec 8, 2016 20:52
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I've yet to make it to anything more than a jam, but I'm considering pencil marks on the maple of the neck to get my eye in first - I wonder if that would work?
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Dec 8, 2016 22:51
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I had "cheater" pencil on the ebony board of my upright in a couple spots, and a convenient little ding at the octave. Your unlined fretless, though, should still have side markers and they'll be inline with where the fret would be.
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Dec 8, 2016 23:20
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Mmm, I'm just thinking about reaching up towards the 12th or 15th fret - I guess it's mostly muscle memory on my guitar so just a case of translating that. I'm looking at small combo amps and have been pointed at a Markbass 121P which seems a bit much to jump to on a whim: I've seen a cheap-ish Gallien Kreuger MB150s (solid state 150w 1x12) which seems to be one of the best all-time bass amps on Thomann.de (just behind the markbass, funnily enough) - I have a suspicion that I'd just need to upgrade if I ever gigged in a blues/rock/metal context though? Or would anywhere big enough to need a bigger amp have a backline?
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Dec 8, 2016 23:29
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Unlined fretlesses are great if they're high-quality instruments, but I got a cheaper one and the intonation issues it had sucked the interest right out for me; at least with a lined one you have a chance of getting closer to muscle memory for intonation but a bad unlined electric is worse than useless and in this case all the side dot markers in the world are of no help particularly down near the nut.
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Dec 9, 2016 03:41
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ewe2 posted:Unlined fretlesses are great if they're high-quality instruments, but I got a cheaper one and the intonation issues it had sucked the interest right out for me; at least with a lined one you have a chance of getting closer to muscle memory for intonation but a bad unlined electric is worse than useless and in this case all the side dot markers in the world are of no help particularly down near the nut. This is basically how I feel about my Rondo fretless violin bass. Price was right, it's really cute, it has a pretty fun warm tone, I can't play it for poo poo and it's impossible to diagnose the intonation problems with no fret lines. 
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Dec 9, 2016 04:29
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Southern Heel posted:No input at all guys? The only thing I would ask, are you comfortable playing a fretless bass?
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Dec 9, 2016 20:52
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So I received it and it's very comfortable to play and to my unaccustomed ear I feel like I'm able to be on pitch. Having said that I did check the intonation and t's about a semitone out on the 24th fret. The whole thing was rather grimey when I got it so I'll assume it needs overall tlc - in this case I just need to adjust the saddles.
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Dec 9, 2016 22:27
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ewe2 posted:Unlined fretlesses are great if they're high-quality instruments, but I got a cheaper one and the intonation issues it had sucked the interest right out for me; at least with a lined one you have a chance of getting closer to muscle memory for intonation but a bad unlined electric is worse than useless and in this case all the side dot markers in the world are of no help particularly down near the nut. Is this a thing? So long as your saddles are set so there's even intonation across all strings, isn't the intonation entirely down to your finger placement? I wouldn't have thought there'd be any scope for 'good' or 'bad' on the instrument itself, except for fretboard issues I guess
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Dec 9, 2016 22:40
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Absolutely. You want to make sure the harmonics on each string line up with each other when at pitch, and that THOSE line up with whatever markers are on the side of the fingerboard.
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Dec 10, 2016 02:50
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Maybe you guys will know offhand. I'm looking (for a friend) for a Jaguar with series/parallel switching in a PJ config. Without paying American Standard prices. I can find plenty of JJ CIG for sale, but the only PJ is a signature model. I guess my question would be better phrased : anyone know of a Japanese Jaguar in PJ?
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Dec 10, 2016 05:02
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pumped up for school posted:Maybe you guys will know offhand. There's a MIM Jaguar - http://www.musiciansfriend.com/bass/fender-standard-jaguar-bass-electric-bass-guitar/j17842000002000 If he really needs series/parallel switching he can replace one of the pots with a push/pull one and wire it up (maybe even find an old Fender S1 setup), or just add an additional switch. However, series kinda sucks except on humbuckers where the coils are right next to each other.
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Dec 10, 2016 05:52
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Thanks. He said it's a guitar thing, and he NEEDS it, but he's pretty high right now. My Sterling has the 5-way switch with parallel/series options, but to be honest I don't think of it quite like that.
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Dec 10, 2016 06:18
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DEUCE SLUICE posted:Absolutely. You want to make sure the harmonics on each string line up with each other when at pitch, and that THOSE line up with whatever markers are on the side of the fingerboard. Well that's what I meant by even across all strings, but they said "all the fret dot markers in the world won't help you" which sounds like the problem isn't with those. Just seems like cheap matters less for fretless instruments because there's one less thing for them to have hosed up Even if the side markers are a mess they're only there to get you in the ballpark anyway, with lines you can see exactly where your fingers should be and it's still more about listening and muscle memory. So long as the strings are the right length there's not much else to it, right? Or are we talking unfixable insane action
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Dec 10, 2016 11:21
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