How Come More People Aren't Using 210 tiltbacks?

I would like to know this also. I'm pondering the same with a shuttle 6 but was going to use a GK Neo 210.

 

i would rather have sound pointed at my head the old fashioned way...

... with a cabinet that's taller than me!

 

i had a tiltback cab and I found that when tilted back alot of bass was lost for some reason, i could hear playing but it wasn't sound that i liked

 

I do.
Genz Benz 210 combo pointed up at me with a SWR golliath Jr. aimed at the drummer. "only" 200 watts, but does everything just fine.

I crank up the mids and like to stand slightly off to the side, I hear more bass that way but the sound still cuts thru.

 

OH YEAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHH!

 

The GK Neo 210 looks like it has a good box size.

One for tilt-back, or two for stacking on-end to form a 4x10 line array.

And once the MB2-500 is as reliable as the RB Series...

 

I use a Backline 210 loaded with Eminence CA2010 neo's, a VT bass and my J. We own our own PA so I have that support all the time. I did a long winded post in the "what is overkill" thread, but the short version is, me and my 210 tiltback rock just fine...

 

I just about posted this same question today.

Why can't I use two really good quality wedges INFRONT of me, powered with the amp of my choice. The wedges on most stages are already blown out or they don't want to put enough bass in them so they don't blow them out. We could bypass the PA altogether for our stage monitoring. My bass rig has to be pretty loud because it's in back of me, and it competes with FOH, The rest of the band doesn't benefit from it either since it points forward and not at them.
Wedges take up less space in the van too.

The downside- wedges sound like crap, but I play better if I can hear myself and the rest of the band.

 

Carvin used to make a tilt-back 210 cab. No idea why they discontinued them. I'm fortunate to have two of them. These even have stand mount sockets on the bottom, very versatile cabs. One I keep at my church and play most Sundays, the other I have at home. I don't use it much since I got my Schroeder 1212L, bigger bark and weighs less. On smaller stages, especially with lower ceilings it works very well. There's some reflection action happening that fills a smaller room with tone, though it lacks the thump of some bigger and more in-your-face cabs. At church when tilted forward it makes a great seat for between hymns. Outdoors, fuhgedaboudit though.

 

I use a Nemesis NC210 combo amp, tilted back with an Ampwedge. Gives me just enough angle to hear myself clearly...

MM

 

I have an Ampeg BXT210M that I've used as a tiltback along w/ my combo. Normally I just stack the combo on top of it though.....sometimes because of lack of stage space.

Ideally one day I'd like to get a head that goes to 2 ohms so I could use the 210 as my monitor and run my 410HLF cab too.

 

I have a GK Backline 210(tiltback) that I use as my practice and small jam amp. Although I also have connected to the PA and used it for rehersals. Just a might large to fit in my car. I just carry my GK600 head back and forth and leave my SWR cab at our rehersal hall.

 

IMO, the problem with most tilt back designs is, given that midrange and treble response is directional and bass is not, these are really only useful for near field personal monitoring, and result in a bit of boomy mush reaching both the audience and other band members on stage.

So, the only time they would be useful (IMO) is in a situation where you had both front of house support, and a good enough monitoring system so the rest of the band can hear the full range of your instrument across a large stage. Of course, if the monitoring system is that good and you have your own mix, then you wouldn't really need a backline rig.

IMO and IME with these designs. I find that for small cabs, like a 112 or 210, attaching a spring loaded metal handle to the front of the bottom of the cab provides just enough tilt to hear a bit more midrange and definition from your cab if you are forced to stand right on top of it, but to not direct the upper range of your tone directly up to the ceiling!

 

i haven't heard that eden tilt-back cab, but i haven't ever really liked the sound from any wedge monitors over my cabs is the main reason i haven't looked into the idea

the other is that i'd have to put my amp on the floor, and some of the stages we play are very tight already with just my 112 footprint, so that isn't an option for me

 

On stage volume is over-rated. I used to work really hard to create "that sound" mixing amps and cabinets to come up with a bass tone that did it for me. After all the hard work, money and transportation of said rigs, the sound guy would just take the bass direct and EQ out everything above 400hz, so the bass just sounded like thumpy farts in FOH anyway.

Big complicated rigs are fun, but I agree that everyone should just worry about hearing them selves while trying to keep stage volume as low as possible. So a 2x10 with an amp that has a solid DI will get you by everytime.

 

I went the 210 tiltback rout a little while ago, replacing my monster stage rig (rack+4x10+410+215) with a GB M-Line 210. What I quickly found out was that — at least for a band that enjoys moderate-to-loud stage volume — 200 watts doesn't cut it, even if it's aimed at your head. If you're gonna make this move, look for 500 watts or more. Once I swapped out for a Peavey T-Max, I was happy as a pig in, well, you know...

 

I've been seeing a lot of gospel and r&b cats tilt back a 410 for monitoring, sometimes placed firing away from the audience the way a normal wedge monitor would be placed.