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Anone actually satisfied with their rig?

#342
Ashdown 550 Spyder/Eden 210XS cab - love it!

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#344
The only thing that makes me doubt my rig is TalkBass - there's always something cool being described.0
Other than those niggling voices that say "but THIS might be BETTER..." (like Jules' Monique or JGR's new amp) I know that what I have works great for me, and is far more than my level of play needs.
 
#345
kesslari said:
The only thing that makes me doubt my rig is TalkBass - there's always something cool being described.0
Other than those niggling voices that say "but THIS might be BETTER..." (like Jules' Monique or JGR's new amp) I know that what I have works great for me, and is far more than my level of play needs.
Click to expand...

the grass is always greener…
 
#346
Currently using newer production American Standard Fenders and a 1970 Blueline SVT with an 8x10E cab and couldn't be happier. Of course I've been playing one variation or another of the Fender/Ampeg combination since the late 70s, so it clearly works for me.
 
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#347
I have played a fair few rigs in my time Warwick tube stack, Mesa 400, Ampeg SVT, Ashdown, Marshall even! and was never really satisfied them all have great meat and potatoes tones but i like aggressive modern tones and active pickups etc. i was at a work function and the band was playing top 40 covers but the bass tone OMG! end of the first set i went up and asked the bass player what the F are you playing? he pointed to what i thought was the guitarists little combo amp Genz Benz was the response sold my Warwick stack and have never looked back i now have a shuttle 6.0 combo with a GB 15 underneath and have never been happier with my sound! i will to upgrade to a shuttlemax 12.0 and chuck a UB 4 x 10 in there in the not to distant future, but Genz Benz is the first amp i have ever just plugged in and gone yip thats it!
 
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#350
With a 76 SVT and matching 810, yeah I'm happy. Got an Ampeg 410 when the fridge is too much (which is almost always), and when I'm not keen on the 85 lbs of iron, glass and plywood, I can grab my old 400 RB, or if I'm in a different mood, my Genz NeoPak 3.5.

So no "need" for anything else, but I'd love to try something like a pair of 112s and a Markbass head......that woul be cool. Maybe when I turn 50 I'll do that.
 
#352
2009 Am Std P bass (black) w/5% overwound Lindy Fralins or 2003 EBMM Stingray (black) w/Delano into
JHS Lime-Aid into Tech 21 3-channel (tweaked to perfection)
into a Markbass CMD 102p (flat) linked to a Hartke 210 XL sealed cab stacked vertical.

Tech 21 patch #1 is for the P bass, #2 is for the Stingray, #3 is for slap.

sounds great.......no need to add anything........still got gas.
 
#354
Happy with my current main bass (CB Dola 6)... A little frustrated that elixir strings are too long for it... But I tell you this.. I have realized that I always need a distraction or something to obsess over, no matter how good life is. Anything to distract me from mortality I guess..
 
#356
Not sure I totally get it, but I try.

Been using my trusty Eden Metro since 1999 on mostly big stages. It's a little hard to see it behind me in the photo - but it's a great stage monitor and plenty loud enough. I don't want to push a lot of air off the stage, it's counter productive. I want to give my audio man every advantage I can to make my bass in the FOH killer. Of course, the main purpose of my stage monitor is to inspire me - and the Metro does - but the FOH is all that really matters.

The more stage interference I give my trusty audio man the harder his job becomes. Yes, and my drummer is one of the hardest hitters ever. Did a tour with Stu Hamm and toured with Blue Oyster Cult for years. What's this fussy Super Rig perfection deal all about anyways? It's a stage monitor. Enlighten me, please.

bandstateJPG.jpg


Eden.jpg


BassHappy
www.innertainment.net
 
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#357
BassHappy said:
Not sure I totally get it, but I try.

Been using my trusty Eden Metro since 1999 on mostly big stages. It's a great stage monitor and plenty loud enough. I don't want to push a lot of air off the stage, it's counter productive. I want to give my audio man every advantage I can to make my bass in the FOH killer. Of course, the main purpose of my stage monitor is to inspire me - and the Metro does - but the FOH is all that really matters.

The more stage interference I give my trusty audio man the harder his job becomes. Yes, and my drummer is one of the hardest hitters ever. Toured with both Stu Hamm and Blue Oyster Cult for years. What's this Super Rig deal all about anyways? It's a stage monitor. Enlighten me, please.

View attachment 475570

View attachment 475571

BassHappy
www.innertainment.net
Click to expand...

Great points - even in a small club/bar, your rig would provide the needed presence. I'm aware of the cult of loud, (and hey - it can be powerful - think Isis or Mogwai or Sigur Ros) but some intense music can be played at a whisper, and the much discussed almighty tone can be delivered with nuance and beauty with reasonable volume. Ok, 4X10 if you really want to be heard and 8X10 if you want to be felt and heard. ;) (it's all good… depending)
 
#358
JIO said:
Great points - even in a small club/bar, your rig would provide the needed presence. I'm aware of the cult of loud, (and hey - it can be powerful - think Isis or Mogwai or Sigur Ros) but some intense music can be played at a whisper, and the much discussed almighty tone can be delivered with nuance and beauty with reasonable volume. Ok, 4X10 if you really want to be heard and 8X10 if you want to be felt and heard. ;) (it's all good… depending)
Click to expand...

Hey Jio

Some good points. To me it is always more a question of balance. How can we give the majority of the audience the premium bass experience, not just those in front of - or on the stage side of the bass rig?

If the bass rig is huge and loud the folks on the bassists side of the stage will hear and feel it for sure - sometimes it will part their hair - and I suppose at times it could almost be a religious experience for us bass enthusiasts. Unfortunately the folks on the other side and in other places in the room don't get the benefit of that premium experience - and it can cause the overall sound of the band to suffer in a pretty major way with no true connection or breathing together with the kick drum. The bass is so loud in the room you can only get a pinch into the mains.

For me, the thrill is feeling and hearing my bass coming off the back wall of the hall. Nothing more dynamic or inspiring for me. There simply isn't a rig made that can provide that thrill.

BassHappy
 
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