Very nice review! I ordered a Hathor 1203 recently and can't wait to get it. Now I'm getting an itch for the Hathor 1855! I don't know if I can steal that much money from the wife! 
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AudioKinesis Cabs Part VI...
- Thread starter Thor
- Start date
svtb15
Inactive
- Mar 22, 2004
- 13,004
- 4,741
- Disclosures
- I play it all. Whatever works for the gig. Q+
I want one. If it weren't for the ever mounting medical bills with my wife I have a 1855.. or 2 LOL..
All is good and in time..
All is good and in time..
@dmrogers while I really enjoyed your review I felt a little cheated because two of your pictures aren't displaying correctly!
LOLThank you for taking the time for writing such a great review!
@dmrogers while I really enjoyed your review I felt a little cheated because two of your pictures aren't displaying correctly!
Thank you for taking the time for writing such a great review!
Thanks for pointing that out. I was experimenting with different options on posting photos and I didn't really check from another account. I'll have to do some troubleshooting.
OK, I got it fixed now. All of the photos should show up.
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I loved the MB800 with my TC112, but I wouldn't write off the Fusion with the Thunderchild line either.
I swapped my MB800 for an MBFusion 500, and have never looked back. It can get just about as crisp, hi-if and immediate as the SS version, but can also bring some pleasing extra harmonics to the table when you want it. Which turns out to be most of the time...
My biggest complaint about the Fusion/TC112 combo is that on quieter gigs, I can't push the front end the way I would like to. With the gain controls up high enough to get a bit of bloom with my Dingwall (about 1 o'clock), the output volume gets pushed down into its non-linear zone, between 7 and 9 o'clock. Makes it very touchy.
Using the -15dB switch gives enough gain reduction to get the volume control up into its linear range, but the pad is before the tubes, so I lose the "wool" I was after in the first place.
A Fusion 200 would be great for those situations, or maybe a second pad after the preamp stage...
The Dingwall is active, no? How about turning it down to achieve that gain reduction? How does that work?
Had an amazing gig last night, with the TC118 being my choice for on-stage monitoring of course.
As I was setting up, I explained my rig to the soundguy (this particular band doesn't have a dedicated one). He was visibly excited about it, and we probably talked for 20 to 30 minutes. For giggles, we put some house music through the TC118, which was quite fun.
Normally, I run direct out of my Axe-Fx II to FOH and that's that. However, last night, the sound guy threw a mic (not sure which one as while he was doing that, I was busy with other stuff - looked like a kick mic) on the 18". Right before soundcheck I asked what was his thought on that, and he shrugged and said "nothing yet, we'll see what happens out front". I of course had no objection - it's his house, he can do what he wants. Out front though, as we dialed in on soundcheck, I got to walk out off stage to listen and talk to him. It was pretty obvious that mic'ing the TC118 was beneficial - most of the signal was Axe-Fx, but he tastefully blended in the mic as well which added "something" that I'm struggling to put to words right now. Regardless, I'm going to call him up on Monday and ask which mic it was, so I can purchase one for myself and run that setup at all of my gigs in the future.
As I was setting up, I explained my rig to the soundguy (this particular band doesn't have a dedicated one). He was visibly excited about it, and we probably talked for 20 to 30 minutes. For giggles, we put some house music through the TC118, which was quite fun.
Normally, I run direct out of my Axe-Fx II to FOH and that's that. However, last night, the sound guy threw a mic (not sure which one as while he was doing that, I was busy with other stuff - looked like a kick mic) on the 18". Right before soundcheck I asked what was his thought on that, and he shrugged and said "nothing yet, we'll see what happens out front". I of course had no objection - it's his house, he can do what he wants. Out front though, as we dialed in on soundcheck, I got to walk out off stage to listen and talk to him. It was pretty obvious that mic'ing the TC118 was beneficial - most of the signal was Axe-Fx, but he tastefully blended in the mic as well which added "something" that I'm struggling to put to words right now. Regardless, I'm going to call him up on Monday and ask which mic it was, so I can purchase one for myself and run that setup at all of my gigs in the future.
I've found that most of the ones 'round here will take time to listen to people and have a conversation around wants and needs. It's a two way street, too, as sometimes they just can't or are uncomfortable with things, so the musician has to give too. Being able to clearly communicate helps a lot, as does showing up well in advance of load in to have ample time to talk and setup. If load in is at, say, 6pm, I'm there before 5pm and looking for the sound guy.
It's these kinds of details i.e. getting there early to talk to the sound man that always sets a performer apart, making it easier to work with and getting the first calls for the next gig......
"A Fusion 200?" I like that idea a lot. Kind of like the GK answer to the Ampeg PF-20 and PF-50 line.... hmmm I hope GK is reading this.
- Apr 3, 2003
- 35,516
- 19,951
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
+1 And if I can get to the gig in time, I like to help the sound guy unload, and then I always offer to help load the heavy stuff at the end of the night. That will definitely get you on the good side of a sound tech whom you will hopefully work with on multiple occasions.
+1 And if I can get to the gig in time, I like to help the sound guy unload, and then I always offer to help load the heavy stuff at the end of the night. That will definitely get you on the good side of a sound tech whom you will hopefully work with on multiple occasions.
Most of the venues we play have all the gear permanently installed and ready to go. They generally have 2 or 3 sound people they rotate around.+1 And if I can get to the gig in time, I like to help the sound guy unload, and then I always offer to help load the heavy stuff at the end of the night. That will definitely get you on the good side of a sound tech whom you will hopefully work with on multiple occasions.
For my other band, we rent theatres and such, so we have to load in our own gear. But, we load in about a week or 10 days before show, and everyone participates in that.
Hey folks,
Some of you may have seen cab questions I have had in other posts but I have finally decided to go with some of Dukes cabs. I talked to Duke about a custom build but decided I can achieve what I am after another way. I have decided to use one channel of my Carvin DCML3000 to drive bass frequencies through my VTRM (or the Bass Fly rig) and using an EHX Switchblade and Pog2 to send guitar frequencies through a Flyrig5.
I am thinking of using a Hathor1855 for bass frequencies at 4ohms, the amp on one channel at 4 ohms will do 950w. For the guitar frequencies I am considering using the Thunderchild 118 at 8ohms for 550w.
Have any of you paired these 2 cabs? Anyone have constructive comments about my proposed rig? The purpose is to fill sonic space in a bass/drums duo or trio. Basses are a fretless 5 tuned BEADG and a fretless 10 tuned B/f#/E/b/A/e/D/a/G/d. Genres are Blues, Alt Rock, Classic Rock, and Fusion. Thanks.
Rondo
Some of you may have seen cab questions I have had in other posts but I have finally decided to go with some of Dukes cabs. I talked to Duke about a custom build but decided I can achieve what I am after another way. I have decided to use one channel of my Carvin DCML3000 to drive bass frequencies through my VTRM (or the Bass Fly rig) and using an EHX Switchblade and Pog2 to send guitar frequencies through a Flyrig5.
I am thinking of using a Hathor1855 for bass frequencies at 4ohms, the amp on one channel at 4 ohms will do 950w. For the guitar frequencies I am considering using the Thunderchild 118 at 8ohms for 550w.
Have any of you paired these 2 cabs? Anyone have constructive comments about my proposed rig? The purpose is to fill sonic space in a bass/drums duo or trio. Basses are a fretless 5 tuned BEADG and a fretless 10 tuned B/f#/E/b/A/e/D/a/G/d. Genres are Blues, Alt Rock, Classic Rock, and Fusion. Thanks.
Rondo
Honestly... I'd suggest taking a good, close look at Fractal Audio stuff. But, let's put that aside since it's kind of OT.
From what I know of the TC118, I can't see why you'd need to split the signal in the fashion you're describing. The TC118 takes F# perfectly fine (I have a Dingwall tuned that), and goes up onto the violin's high E string perfectly fine as well (yes, even at the same time).
I'm more curious why both cabs - can you elaborate on that a bit?
From what I know of the TC118, I can't see why you'd need to split the signal in the fashion you're describing. The TC118 takes F# perfectly fine (I have a Dingwall tuned that), and goes up onto the violin's high E string perfectly fine as well (yes, even at the same time).
I'm more curious why both cabs - can you elaborate on that a bit?
Sure,my feeling is to keep the signal chain for the two frequency bands seperate, most of the dirt will go to the higher frequencies. The 1855 is a bass cab with a baked in bass tone, the TC is more transparent. High frequencies need less power to project so that is one reason for the difference in ohms. From what I have read, a two amp (or in this case 2 channels on the same amp) solution is better sounding when splitting the signals like this. Think Royal Blood or Om (not the style I would play but using that concept).
Rondo
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