• 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 free Log in
    Want zero display ads or expanded classifieds tools? Compare plans.

AudioKinesis Cabs Part VI...

#4,881
JimmyM said:
I actually like your names. At least you're not naming your stuff after deviant sex practices :D
Click to expand...

flat,800x800,070,f.u1.jpg
 
  • Like
Reactions: GregC, John D Harris, bonin in the boneyard and 4 others
#4,889
Dominick C. said:
iPhone 7 Audio. Hathor and a thunderchild powered by Jule....

Click to expand...

Nice stuff, Dominick! Looks like a fun group. Flute player reminds me of Greg Pattillo, so I've got to post this Project Trio vid, even though it's only obliquely cab-related. I think you'll dig it, though...



I dig the band, dig Smokey on the kick drum... any chance your singer and her voice are available on Friday night for a sarsaparilla?

I'm a fan of the Tiny Desk Concerts! Good luck!
 
  • Like
Reactions: El Spearo, DukeLeJeune, AstroSonic and 2 others
#4,890
steve_rolfeca said:
Possible cab issues have already been covered, so I'll go the other way....

Are you sure it isn't the AK cab putting the Markbass head under the magnifying glass?

I'm a total weenie about upper mids and treble, very sensitive to little distortions and other character flaws. I auditioned a Little Mark III before I got my AK cab, while I was still using.a compact 3-way cab by Flyte.

You could think of the 103W as a crude precursor to the Thunderchild. It had a very hi-fi character, but like Greenboy's early fEarful's, it emphasized any harshness in the upper mids and treble.

I liked the power, form factor and comprehensive EQ of the LMIII, but it had an elusive distortion in the upper mids. It was particularly noticeable when I played double-stops up around the 12th fret. This was at low volume, so it was definitely something about the amp design, rather than a lack of headroom.

I discussed this with another TB'er who was a big Markbass proponent, and he had noticed the same characteristic. The difference was that he heard it as an interesting growl, rather than a problem.

The main difference between us, was that he was using conventional bass cabs at the time, mostly Bergantino.

After our discussion, I went back to the store to try the LMIII with a Mesa Scout cab and an SWR Goliath II. The distortion was far less intrusive, because the hole between the woofer and tweeter in those cabs hid it.
Click to expand...

I'm not sure of anything - and this explanation makes a lot of sense to me. Many thanks for this post!
Soooo does anyone have a recommendation for an alternative head in the 500w /4ohm range that might be comparable in weight and (more or less) in sound? I remember Tecamps were highly regarded at one time, but haven't heard much about them lately. I liked the LM because it was warm sounding to me - not ultra clean like GK stuff. I tried a Tone Hammer and found the mids overwhelming. Eden is the best sounding head I've heard but 20lbs and you need a rack case. TC seems to be on the rise but I've never heard their gear. Thoughts??
 
#4,895
tecamp went through a reorg of sorts.

from what i know, the german part is gone, the american part is called tecamp global and the orginator, thomas eich, has a new company called eich amplifiers.

from what i can tell, he basically has his versions of the puma 200, 500, 900 and 1000.

i quite like my tecamp puma 500 and bonafide. not perfect, but what i like now.
 
  • Like
Reactions: Marial
#4,900
Marial said:
I'm finding I miss the tone I got out of my Ashdown. It had a rich bottom end I've yet to be able to replicate.
Click to expand...

emjazz said:
Right there with you. I really miss having an Ashdown amp. ABM500 is amazing.
Click to expand...
The AMB500 sounds nice with a Hathor 1203. I find myself boosting the highs and high mids a bit, though (my ears are used to a Baer ML112). I also throw in a slight cut on the 150 slider. Those ABM e.q. points work well with that cab. The size difference is a bit ridiculous.

I tried finding a micro that worked for me like the ABM500.
Genzler was a no-go (esp. regarding the low-freq. voicing).
I remember the Streamliner being close, possibly the most similar to the ABM with my Baer cabs, but that's a 2-year-old memory.
I did a fairly extensive head-to-head at home with a Mesa D-800 and the ABM. I did a few shows with the D-800 before selling. The low-end of course isn't identical. But with the D-800, dialing in enough for me was not problem (plenty of flexible low-end between the deep switch, voicing knob, and eq). The midrange difference was the big standout. I couldn't shape the same frequency peaks with the D-800 midrange controls (as the ABM flat voicing--e.q. disengaged). The D-800 midrange seemed a lot clearer, so much that I thought of it as "dry". Some may like that. I like the sort-of congested sounding ABM midrange. (This comparison was all through the Baer cabs.)
I just don't think those D-800 e.q. centers were a good match for my hands, basses, string choice, and ML112s. It sounded fine, great even, but not what I was pushing for (even though I got sounds from the Mesa that I couldn't with the Ashdown, including things I liked better in certain contexts).
Now, the D-800+ I think would do the trick thanks to the flexible mid controls.
FWIW, it felt like I could nail faster sections with the D-800 over the ABM. I am actually considering the + model for my Hathor 1203, you know, in case I get carried away and get a 212--need that 2ohm stability for the 312 stack.

Edit: One thing I remember not liking about the D-800 was my inability to get that thunk and bloom with palm-mute picking. The response time was too speedy--not sure how to describe that. I even tried some compressor tricks. There is just a bit of sag in the Ashdown that I couldn't replicate. And that's important for what I do in my current group.
 
Last edited:
  • Like
Reactions: emjazz

Latest posts

Top Bottom
Back