• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join freeLog in
    Want zero display ads or expanded classifieds tools? Compare plans.

Am I Wrong??

Check my mega thread on HPFs and LPFs for some great info: High Pass Filter (HPF) and Low Pass Filter (LPF) Mega Thread

You'll need a power supply too: Amazon.com: Buying Choices: Truetone 1 Spot Adapter


From the mega thread
A HPF (high pass filter):

1) helps deals with boomy venue and/or stage acoustics (like putting your rig on a stand or a pad, which I also recommend, to disconnect from stage)

2) decreases speaker "floppyness" by reducing mechanical movement, especially in ported cabs. Still, it works for sealed cabs too.

3) Protects speakers from transient spikes.

4) Keeps your amp from working so hard and gives more headroom by cutting unneeded/unnecessary frequencies (below port tuning or speaker ) from being reproduced.

5) Help balance string to string volume.

6) Better stage volume and clarity.

7) Allows your bass amp tone control(s) to boost or cut frequencies that matter. If you add a LPF (low pass filter), depending on your style, you can tame the highs as well.

8) Allows you to control what you send to the FOH mixing board. Why send mud to the FOH? Same for LPF.

9) Helps keep your rig from stepping on the kick drum's slot.

10) Can also be used by guitar and keyboard players to cut their low-end incursions into bass guitar territory.

11) Helps you sit in the mix better because your rig is not reproducing muddy and/or non-hearable lows even if it sounds good on stage

12) Allows your passive or active bass guitar tone controls to be more effective

13) Will help control 5 and 6 string and other down-tuning bass's low frequencies and help your rig go louder and sound clearer and cleaner

14) Controls and protects speakers from effects that produce sub-octave tones. Can also improve sub-octave tracking along with improving the tone of effects that produce too much low and mid-lows, especially distortion effects. Some pedals come with an HPF and some come with an internal splitter that creates both distortion and clean, allowing you to blend both for best effect before outputting to your amp.

15) Also known as a low-cut filter, rumble filter or sub-sonic filter, it could also be called an anti-distortion filter or equalizer. It cuts low frequencies your speakers can't reproduce or reproduce well.
 
As an Amazon Associate, TalkBass may receive commissions from qualifying purchases made via links on this site.
You saying that in general or just about the GK stuff. Because I priced the GK stuff and it's a bit out of my range.
Depends; I use a 210 combo at rehearsals, which just happens to be a used GK210 combo I scored for like $250; perfect for my application. IMO, for my tone, and after years of GAS/playing/trying this andor that I have finally settled on 12" speakers. Had a ton from GK to Fender to Barefaced (which are totally sweet), and back to GK. Played 210s, 410s, and 610s; 10s IMO work fine if you don't venture too low and like a more mid tone. IMO12s venture just deep enough, and high enough to fill it out so to speak. Yeah, I get the whole 10 thing, "everybody" uses them, and that's fine.
I play several different genres, mostly around the "alternative" realm, and specifically play in an original trio which is a kin to Bad Brains meet Fugazi with some DKs mixed in with some Clutch. 12's run the gambit; metal to funk to punk to Ska to old school alternative and beyond, pick to slap to finger/pluck. Playing the 210 in rehersal, I find that I had to cut the bass, bump the treb and mids to like 2 o'clock, gain at about 2 o'clock and master at/about 2 o'clock or so to be heard/sit in mix. But 12s at gigs; gain at about 10 o'clock and master at about noon, EQ near straight-up with treble slightly bumped to about 1 and mids cut a tad. Works for me, and have had to turn down once or twice.
Consider surface area of speakers; bass, for the most part, is about pushing air.
Area of a circle: 3.14 x (Radius x Radius)= Total surface area.
10s= 3.14 x (5 x 5)
12s= 3.14 x (6 x 6)
...and so on.
So, long answer short, 12s IMO are bam, done. And yes, love the GK total package.
IMO get what works for you, but looking back, IMO get something with a bit more than what you think you "need" right now; a bit of room to grow so to speak.
Good luck.
 
  • Like
Reactions: ctmullins
GK MB212 combo, w/MBP 212 extension.
500W, 212s...w/extension, another 500W 212s...1000W 412s.
Bump the treble, mids where you want, straight-up bass, engage the horn and Limiter, boost as needed/desired. Hot knife through butter, Studioline cover, done.
Wear hearing protection.
Gigged it/them with very LOUD Post-HC/HC/Punk band. All day, and all of the night. 212 combo is plenty in most situations, both are MORE than enough.
Happy shopping.

Just got an MB212 myself, outstanding combo. I would love to try it with the powered extension cabinet but the idea was to downsize.
 
  • Like
Reactions: red_rhino
Get more power than you need. Certainly not less than 500 watts, unless you play in a low volume band.
I run 600 to 2000 watts depending what rig I use. I don’t usually play very loud but I run with a bunch of players and bands and always want clean headroom jic.
 
Just got an MB212 myself, outstanding combo. I would love to try it with the powered extension cabinet but the idea was to downsize.
...same here.
Almost decided on their 412...too much at once I thought...
...then I picked--up the MBP 212...totally versatile and modular!
Sometimes you feel like a growl, sometimes you don't.
:)
 
  • Like
Reactions: InhumanResource
I need some decent power for my bass. My Ampeg BA115 just ain't cutting it. I figure I need at least 300W. I had 350 in a band about 15 years ago but that rig is long gone. Plus it was a full stack 4x10 on top of a 15.

Can't move that much gear any more due to a bad labrum but the Fender Rumble 500 combo got my attention. But I don't immediately think of Fender when I think of hard rock/metal. Am I wrong?

I can sympathize with you. I've got a lot of orthopedic issues myself. I also have a BA-115. I like to use a slight amount of reverb and find that my Boss FDR-1 provides not only reverb, but fairly prominent gain as well. If you can afford it, perhaps a high power Ampeg bass head with two or three twin ten or twin twelve smaller cabinets? I agree with you about Fender. I've got several Fender guitar amps, love them, but never though of Fender as a real strong bass amp. From what I gather, more lead guitar players buy Fender Bassmans than bass players do. (It has basically the same guts as a Super Reverb) Fender isn't bad as a bass amp, but I think their guitar amps are their strength.
 
Well I got the chance to play the Rumble 500 and it just didn't do it for me. With the gain at 8 o'clock and the volume at 11 it just sounded flabby. I even tried a couple of different basses on it. The sales man told me to try the TC Electronics bg250 210, and while I liked the tightness of the sound better, I discovered some reliability issues with the thing and the crap customer support and figured I'd be better off using something else.

I have also been looking at the Hartke HD500. But what concerns me there is it only puts out 250W without the extension cab. I 'm not sure 250 will cut it with my band right now and I don't have the scratch for the amp AND the extra cab. The drummer is a HEAVY hitter and the guitarist uses a 100W Bogner Ecstasy head and a 212 cab all in a 14x14 rehearsal space so we're all close and we're all loud.

My biggest concern was initially weight as I have some orthopedic issues and the light weight of the Rumble and the HD were extremely appealing. But I think that with a little help I can schlep something heavier like a head/cab setup as long as the cab isn't 100 lbs.

I have my Hartke 3500 in the shop right now and am looking for a light weight 410 cab to go with it. Any ideas?