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AudioKinesis Cabs Part VI...

#4,901
McFarlin said:
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 Mesa before selling. The low-end of course isn't identical, but with the Mesa 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 manage the same frequency peaks with the midrange controls (as the ABM flat voicing--e.q. disengaged). And the Mesa midrange seemed a lot clearer, so much that I thought of it as "dry". Some may like that. I like the semi-congested (harmonic distortion?) 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, things I liked more 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.
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Did you try a Diamond Bass Compressor?
 
#4,903
This is great info. Thank you all so much.
I definitely need to hear some of these. The Berg looks like it has the most control, but don't know how practical scrolling through fields of info would be live. You can preset some of it though, so it might be OK.
Ashdown looks like it has the most options. I'm guessing it's one of those with character that will either work for you or not. Mesa looks interesting but couldn't find out as much about it. Quilter looks a bit too limited in the eq section.
One of them had a variable high switch (Berg.?) which would be really nice. I often find I want to roll off the high highs and prefer the lower treble frequencies for clarity. All are very interesting.
 
#4,907
shrigg said:
I agree, been there... Over the years I've tried around a dozen of the various boutique flavors, and always ended up selling em. TECHNIQUE makes a much more profound difference in my experience.
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I definitely subscribe to the "tone begins at the fingers" theory. But in my case, the distortion issue I'm hearing that's causing me to look at new amps is not the result of bad technique.
 
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#4,908
I have had very good success with a wide variety of heads powering my AudioKinesis heads. Just like a very uncolored rig can highlight what different instruments being to the table, a very balanced cab can really let the character of different amps shine through. Both the TC cabs and the Hathors do this, IME/IMHO. Even though the Hathors may not be as ruler accurate and neutral as the TCs, they still have that ability to let both the instrument and the bass head shine through.
 
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#4,909
tombowlus said:
I have had very good success with a wide variety of heads powering my AudioKinesis heads. Just like a very uncolored rig can highlight what different instruments being to the table, a very balanced cab can really let the character of different amps shine through. Both the TC cabs and the Hathors do this, IME/IMHO. Even though the Hathors may not be as ruler accurate and neutral as the TCs, they still have that ability to let both the instrument and the bass head shine through.
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yes, and one's bass intonation better be set right on the money, 'cause if it's not everyone will hear!
 
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#4,910
McFarlin said:
No, I didn't want to go down a compressor rabbit hole.
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If you do want to experiment with compressors, I recommend the BBE Opto Comp. Can find a used one for about $40-$50 and they are super hard to beat at that money. It was my main compressor for years and for live use is awesome. Gives a wonderful sustain which is why I like it, not so much to regulate my dynamics. For studio I want one with more control and use the Empress compressor, which is unbeatable imho, but has a learning curve.
 
#4,911
Re: compressors - The only compressor I've ever used that worked for me is the Diamond Bass Comp. If your goal is to fatten/sweeten your sound, that's the one I recommend.

I'm decidedly low-tech though, so its simplicity is ideal for me.
 
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#4,915
JimmyM said:
I actually like your names. At least you're not naming your stuff after deviant sex practices :D
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monsterthompson said:
Are you kidding me? I once tried to talk a young lady into a "birdhaus" and after I explained it she stopped replying to my texts.
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Dude, you shooda said "Brick House" she might of been all, like, on top of ya..weighing you down with her heavy funk. Save "Birdhhaus" for those times when you actually want a serious relationship..:-)
 
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#4,916
Checked out the Bergantino B amp and TC Electronics RH amps online. Those are two amazingly versatile amps. I'm surprised I haven't heard much about the TC RH. I get that the Bergantino is relatively new to the game so that's understandable. Anyone have experience with TC RH amps and Thunderchild speakers?
 
#4,918
slagheap said:
yes, and one's bass intonation better be set right on the money, 'cause if it's not everyone will hear!
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Wait, what?!...I've been gassing for a 1203 for some time now and here I learn that it may not work for my application in an amplified upright - jazz trio situation. What about a Birdhaus...will that improve my "close enough for everything but whole notes" intonation?
 
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#4,920
PDGood said:
Checked out the Bergantino B amp and TC Electronics RH amps online. Those are two amazingly versatile amps. I'm surprised I haven't heard much about the TC RH. I get that the Bergantino is relatively new to the game so that's understandable. Anyone have experience with TC RH amps and Thunderchild speakers?
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No experiencew with the RH but I did play a few gigs with a BT500 into a TC112v1. Great sound! The 112 has a very full low end with no plugs in, so there was no lack of lows at all - in fact, I had to dial them back. I would call it a generic "Ampeg-like" tone when set flat, with powerful EQ and lots of effects available on-line to customize it at no charge. I was quite impressed with the build quality and overall value. I'm familiar with the flap over the RH power ratings, but the BT is supposedly rated "normally" and I found plenty of power available. I didn't feel a need for the 800, but I don't need that much volume, either.
 

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