I see you have a Peavey bass, but how come you don't use Peavey amps and cabinets(honest question?) Buying those products would really help insure your career.
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Behringer BX3000T Ultrabass vs. Ashdown MAG 300
- Thread starter hentper3
- Start date
i play kubicki and peavey ATM, Peavey Mark3, and im hoping to get a 1516 next weekish..does that get me special treatment rcz 
...but im kinda let down by the new peavey gear 
max series heads in particular...
P.S...Can i have my sig series amps, reissue the Mark3's and 1516's but boost the power of the mark3's to 400w? 
PWEASE
...but im kinda let down by the new peavey gear max series heads in particular...P.S...Can i have my sig series amps, reissue the Mark3's and 1516's but boost the power of the mark3's to 400w?
PWEASEStinsok said:
if my career plan were to work for peavey for the rest of my life, then you may well be right. however, i don't plan to work here forever. also, i am more interested in getting the sound i want that trying to be loyal to any one manufacturer. however, i am currently using a GPS 1500 amp that will be replaced as soon as my crest pro 7200 amp arrives at Plant 6. and who owns crest? peavey.
i picked up my bass at the right price, enabling me to buy the amp. i would still like to get an MM sterling and a few other basses.
as for my cabinet, the bergantino HT-112 simply sounds better than any other cabinet to me. i do like the 412TVX quite a bit, but it is too big and too heavy (which is the complaint for most peavey gear). i wish that were different.
heath -- i'm sorry you don't like the max heads (and thusly didn't like the delta, nitro, and fire heads). i enjoy them quite a bit, except i think the power transformer on the max 700 weighs more than my entire rig.
robb.
one more question robb, how come peavey arent dealing with anyone in australia anymore? i was looking forward to trying the BAM210 but the max700 that i tried was one of the last peavey heads imported into australia......also..is it possible to get peavey to mod my Mark3 to contain a more powerful poweramp, like bust it up to about 500w?
heath
heath
I didn't think much of this article. He's right in that traditionally everything seems to be a development from a competitor's earlier device. While that may come as a shock to those who think Behringer invented the idea of copying circuitry (and hasn't invented anything since!), it's just not true, and it never was. Fender's amps were originally just straight copies of existing designs, classic Sunn amps were Dynaco circuits, etc., etc.ebozzz said:
Never mind that the Behringer knockoffs are not exact, as some people seem to feel, but are in fact usually the same sort of tweaks of which the writer of this article seemingly approves.
What he says about "quality" for the most part doesn't apply to musical instrument stuff. If you've actually worked inside real amps (and I have), you'll find that the "quality" brands usually have the same sub-cheapy Chinese components as something like Behringer does. Contrary to what that writer would have you believe, nobody is using Black Gate electrolytics or Burr-Brown OpAmps in their production amps. The components they do use are so far down the food chain you can't even get them from a typical industrial supplier like Mouser.
Not only are the components the same, but now in some cases the "knockoffs" are even coming out of the same offshore companies, off the same assembly lines, made by the same people and the same machines and wave-solder tanks as the "original" brands with putatively better quality.
So, for Stanfill's "exactly the same, only worse" assertion to be at all meaningful, he really needs to name names and give specific instances.
If he can't, or won't, he should just shut up.
According to Frondelli (vid. supra), whose large company does authorized service for Invalid Link Removed, there is no appreciable difference in the incidence of failures between Behringer and any other brand.
Read that again a few more times.
There are boutique amps and then there is everything else: No brand of production amps is immune to poor construction and negligent QC. When your SWR or Ampeg has trouble, you think it's a fluke. If a Behringer has problems you think, "oh well, what can you expect from Behringer?" Never mind that as cheap gear Behringer devices are not only more numerous as well as more likely to be abused, but are also in the hands of more inexperienced, low-budget new musicians trying to push the amps beyond their intended capacities.
No, I don't work for Behringer, nor do I own any Behringer equipment myself. I have no dog in this fight beyond wishing to see some insight and common sense applied to the problem of reflexive Behringer-bashing, especially from people who probably own any number of other knockoff instruments and devices and think nothing of it.
Just for the record, I'm not bashing Behringer. Heck, I have even thought getting one as a backup to my main head. I have seen what the author is speaking of in other product areas. If it happens in the audio industry, I don't know for sure. I would say that an educated guess says it does take place, unfortunately. If a company was found by a court of law to have stolen a design from another company, and I knew of it, I would never buy from them again. Sadly, alot of the buying public wouldn't care as long as they got what they wanted at the right price. Maybe I'm just being cynical.
The sad part is that he's not joking. Brits actually eat that stuff like it's good.miccheck1516 said:
But of course the analogy in this case is flawed anyway. The beans are the same.
Upon closer examination of the guts in my new "Black Beauty," I see that the components are somewhat upgraded from the generally low-level stuff that comes in most production amps. Not audiophile components, certainly, but probably a net US$20 improvement in stock per amp unit over the cheapest available components. Not much for the sort of MSRPs these Pro Series amps bear.Bongolation said:
But...in this one instance, the beans are somewhat different, and in the interest of accuracy, I should point that out.
Bob Lee (QSC)
In case you missed it, I work for QSC Audio!
- Jul 3, 2001
- 12,668
- 2,036
- 67
- Disclosures
- Former Technical Communications Developer, QSC Audio
Bob Lee (QSC)
In case you missed it, I work for QSC Audio!
- Jul 3, 2001
- 12,668
- 2,036
- 67
- Disclosures
- Former Technical Communications Developer, QSC Audio
We'll see.Bob Lee (QSC) said:
Would you be prepared to swear under oath that no QSC product or major component subassembly is sourced from a Behringer-producing factory?
Just asking. You can prevent or correct any misinformation on that account.
we've seen exact copies of our designs under different brands with only slightly different front panel coloration. it's actually pretty funny to see everything, including the transtube logo reproduced on a SoundKing amp.
we were buying transformers from a supplier who was outsourcing the manufacture to a chinese company. one day the chinese manufacturer approached us to build the transformers directly for us. do you think they'd hesitate building for someone else if they wanted the same thing? what if it were an amp instead of a transformer?
robb.
we were buying transformers from a supplier who was outsourcing the manufacture to a chinese company. one day the chinese manufacturer approached us to build the transformers directly for us. do you think they'd hesitate building for someone else if they wanted the same thing? what if it were an amp instead of a transformer?
robb.
Bob Lee (QSC)
In case you missed it, I work for QSC Audio!
- Jul 3, 2001
- 12,668
- 2,036
- 67
- Disclosures
- Former Technical Communications Developer, QSC Audio
Bob Lee (QSC)
In case you missed it, I work for QSC Audio!
- Jul 3, 2001
- 12,668
- 2,036
- 67
- Disclosures
- Former Technical Communications Developer, QSC Audio
rcz said:
A friend at another big pro audio company was looking at Chinese manufacturing facilities back in about the mid or late 90s. At one place he was checking out, he saw assembly lines rolling out some well-known audio products (he declined to tell me what they were, though). Just to check on the business principles and security of intellectual property at this place, he asked the managers showing him around if they would be willing to manufacture those same products for his company--exactly the same but with a different logo.
Absolutely, the managers, replied. Wrong answer, my friend thought. He crossed that factory off his list.
Kelly Lee said:
Why thank you! Obviously I can't take the credit for it but I thought that it fit right into the topic of discussion included in this thread.
Bongolation said:
Sorry you feel that way but I feel the author makes some very valid points that need to taken into consideration by us consumers.
Magneto said:
Good point. I own both a Behringer 3000 and an Ashdown ABM500 EVO. That Shape button on the Behringer is the magic button. I ALWAYS leave it on. It doesn't sound anywhere as good to my ears without it.
Does the Ashdown sound better? Not really. Different perhaps. I'll do an A-B Comparison and report back. I leave the BX3000 at my rehearsal space, so I never have both amps side by side. Will be interesting to find out.
