I run Traynor 800W head through a Traynor cab (1x15 + 2X10 w/horn) and it sounds incredible. The two 10s have great mids and highs, and the 15 makes the lows sound huge. The head has great tone capabilities for any style and pushes a ton of air.

I run a Yorkville 8x8 with a Line 6 XT Live run into a Mackie 800W Power Amp. Really great setup, however, I'm looking for a more natural tone and plan on adding a Glockenklang Bass Art Preamp and running the Line 6 board only through the effects loop as an effects processor instead of the current set up where it is the preamp as well.

My MarkBass CMD 102P (2x10" & tweeter) is great sounding, either as a monitor or as the bass projection in a small gig

I can't imagine ever needing a monster setup with anything more than 4x10s (8x10s, 4x12s, etc...). Maybe I'm not aspiring big enough!

my rig is stupid heavy right now, ampeg svt 70's VRI ampeg x10, mesa boogie bass 400+ and a peavey black widow 18. run together to avoid ohm mismatch and to give each cab it's own sound. i'm thinking of ditching the 8x10 and getting a couple eden 2x10s or a 4x10 or something.

I've not owned the 121p but I've tried it a plenty. IMHO the 121p sounds fine on the low end part. Enough low mids to fill in the room. Not as articulate or full as the 102p but sure covers lots of ground. I have not found myself in situations where I needed more than my Markbass on a bar stage (or medium sized gigs with PA support), in recent years

After reading the posts below, does anyone have experience with the Markbass CMD 121p combo? AMP OUTPUT POWER 450W @ 4 ohm / 280W @ 8 ohm FREQUENCY RESPONSE 45 Hz to 18 kHz I want to extent it with the brand new NY121 cabinet: http://www.markbass.it/products.php?lin ... =2&vedi=97 My idea on the use: - Just the combo for small bar gigs. - Extension cabinet for medium size gigs or as backline when PA is available. I am not sure on the low ends as described above? I reckon 2x12 will generate some lows and preasure... Any input welcome, please!

[quote="fullrangebass":2qhe4imd]IME I leave the ultra lows to the PA. The audience will feel them better than muddying up the stage sound. Just my opinion[/quote:2qhe4imd] I am with you here. I use two Bergantino 112s which are not known for tremendous low end, but they cut through like crazy. I have never had a problem hearing myself with these at any stage volume. The PA usually takes care of the rest for me. I sometimes play guitar in another setting with a bassist who really likes to boost the lows on stage. To me it is really disconnecting. However, his setup is nowhere near as sophisticated as some mentioned here, and I'm sure it works for some people just fine.

[quote="fullrangebass":276tw74g]IME I leave the ultra lows to the PA. The audience will feel them better than muddying up the stage sound. Just my opinion[/quote:276tw74g] i don't want "ultra lows" too... i want a well-balanced sound:) just another reason to avoid "overkill" on stage

[quote="fullrangebass":19qdx2qt]IME I leave the ultra lows to the PA. The audience will feel them better than muddying up the stage sound. Just my opinion[/quote:19qdx2qt] +1. Mark

IME I leave the ultra lows to the PA. The audience will feel them better than muddying up the stage sound. Just my opinion

[quote="TwoPort":2deprsqi]Finally - to answer your question (sorry)... The low B is very stout with the PJB and it is very tight. You will easily hear the note and it will do a good job of getting into the room. But you will not feel that low end phat fundamental like you guessed.[/quote:2deprsqi] Responding late here, but thanks, TwoPort, for articulating this so well. I'll add my "+1" as a Six-Pak+Dingwall guy. The first gig I played with this combination was a farewell for my band of 9 years. The various guitarists took turns until we had 7--yep, 7--playing at once at the end. There were Marshalls, Twins, a Vox, a Boogie, and something else... much more volume than I had with my measly little R2-D2. But it cut through it all and carried things just fine. TwoPort is also right, though, that you don't feel the fundamental moving your behind quite like you might like to... maybe not a good dub amp (BurningSkies?).

I decided to try one of the new Shuttle 6.0 hybrid/class D amps. I can hear why these things are selling like hotcakes. It's like having a well-behaved four-pound tube amp. This is the 3rd class D amp I have tried but the first hybrid. The Clarus I used before just couldn't deliver the volume I occaisionally need. I haven't approached the volume limit of the Shuttle yet or gotten a near-clip indication. And it sounds SWEET! If it had a timbre control like a Thunderfunk, it would be nearer to perfection. I also tried an SM-58 through >Onyx board>TLA-50>Shuttle>Tri-115. Much nicer quality than I was getting through the Kustom monitor I was using (what was I thinking?!) for rehearsals. Two thumbs up!! [url=http://img132.imageshack.us/my.php?image=p1110290ti9.jpg:97zvq9py][img:97zvq9py]http://img132.imageshack.us/img132/36/p1110290ti9.th.jpg[/img:97zvq9py][/url:97zvq9py]

[quote="Brim":2m68jjcg]Light, portable, great customer service: Bergantino. Check out the IP112, powered 12" cab. Toss in your preamp of choice. I have to get one of these.[/quote:2m68jjcg] for the same reason i use a Glockenklang Space de Luxe.. as a "addon".. it sounds beautiful and well balanced.. not only for use with the Dingwall, but also by playing the double bass.. yes.. it's loud enough... i was tired of carrying lots of tons of equipment.. so i use the GloKa and a very very nice Eden Time Traveler

Light, portable, great customer service: Bergantino. Check out the IP112, powered 12" cab. Toss in your preamp of choice. I have to get one of these.

I actually don't care. I find that after many years of workaday playing in various situations, I can get a good sound with whatever I plug into, pretty much. A little eq tweaking and I'm there. Mostly I want light and portable, and so I'm using an acoustic image head and various cabs as needed. Good service is a plus in case the gear goes down.Acoustic image fits the bill there too, and it have an xlr input I can use with my upright

To make this more weird - I haven't used a bass amp regularly for about a couple years now. In most of the settings I play with now (including church) we have Aviom monitor mixers. It was a slippery slope.... So that requires headphones or IEM's. Wearing those things you lose all high articulation cues from your amp because your ears are covered!! So now I couldn't really "hear" the amp anymore - just feel it and I was turning up he monitor mixes so I could hear the articulation. I got the Sensaphonics 2xs's which are custom silicone twin driver ear monitors. They sound absolutely amazing and replace 80% of what I needed to hear from my bass amp. The other 20% is from the house subs. While it is always something I have to "mess with" each time I play - by blending the sound I get from the IEM's at the right volume with the subs I get actually a much better monitor than I ever got from a bass amp. It took a little getting used to - it is different from standing in front of a bass amp because I don't feel the waves quite the same. But I also don't have ringing ears from loud stage volume. Actually, my ears don't ring any more! Now that I'm used to it I honestly wouldn't got back. The subs used in most contexts I play at have just killer low end - Bag end's, Meyers, etc. So there is hecka' low end in the house. I'm just using the IEM's to capture what's above the infra sounds and frankly - it's much cleaner and easier to sort out my articulation with in-ear monitors vs. trying to sort it out in the middle of all of the other loud stage volume instruments. I can turn up my sound in the IEM's as much as I need to get it to punch through which is difficult in a stage context. I find that it forces me to play cleaner (more carefully...) because it's much more like monitoring yourself in a recording studio and you hear all the junk! When I play without the IEM's I use sensaphonics silicone custom ear plugs with one of my amps.... here's the order: 1. Small jazz gigs with my upright (NS Design EU-5) - PJB Suitcase 2. Smaller club gigs - PJB - 6 Pack 3. Medium club gigs - Bergantino 810 Amp: QSC PL4 Pre: UA LA-610, Distressor Compressor. 4. Large Gigs: Cabs: PJB 16-B & 8-T and the other amps... Now if I only had Fullie's national treasure collection of Dingwall's........

Very analytical response TwoPort. Thank you. I always say that the sound of the band starts from the Drums. It the kick is tight, the bass needs to have less attack. If the kick is flabby, the bass needs to have a tighter sound.

Great response - I had not considerred analyzing the bass AS A PART of the overall mix. I fall into the trap of listening to a bass rig in a store showroom, plucking out some line and judging that way. Obviously that is the wrong approach when thinking about the sound of the BAND. I happen to be the sound engineer and own the PA for my group, so apparently I have complete control over this question!! Thanks again.

This is an interesting question. Actually if you look at PA speakers only the high end one's do much heavy lifting below 40hz. I've been messing with this for about 10 years now and my opinion is that it really depends on the kind of music you're playing.... To give some perspective - to get my low B (and of course de-tuned Low A!) I was using a Bag End Quartz (4-18") with a QSC PL4 (4000 watts) for the low end and then various other cabs for the rest.... 1. If you're really pushing alot of low fundamental - really down to 30. It conflicts with the kick drum unless the kick has a high pass. I experienced alot of low end chaos thuds where the kick and the bass were both crowding those low frequencies. 2. I also found that the infra lows were perhaps a little annoying all night. So I started trying to listen to music specifically to see the relationship between the kick and bass to see what was "super stout infra low end..." Much of it was band oriented and some of it was also more generally genra oriented. 3. I'm playing alot of R&B and funk. Much of that involves quick bass lines and the super low's tend to make the bass sound flabby by making weird SPL waves in the infra range. So I got rid of the Bag end's... In our PA mix (Meyers subs!!) We roll off the bass at 100 to get RID of the low end and then pump up the kick so it's super phat. The combination is perfect although if you listened to the bass by itself it would seem a little thin. When we kept the bass and kick both phat it doesn't sound right. 4. For some rock we do the opposite! We open up he bass full range on the lows and roll off the lows on the kick. Again, if you listen to the kick by itself it sounds a little weird but in combination with the bass it's clean and sounds "right".. So.......... It's sort of a combination of what your PA is producing vs. what you need on stage. If you got "not so much PA low end horsepower" then you need more horsepower on stage and with a loud band for 200 people the 6 pack won't work because it's a stage monitor. You'll need much more if it's you filling the room. Finally - to answer your question (sorry)... The low B is very stout with the PJB and it is very tight. You will easily hear the note and it will do a good job of getting into the room. But you will not feel that low end phat fundamental like you guessed. On the other hand, I find that many of the "next step up" in size cabinets don't really produce much in the 30 range either. And bass players wind up sounding very boomy in the room in the 70-120 range trying to really hear 30!