gig report MAS 210 Flex

from my post on TB---gig report from the Field Museum---one of the worst sounding rooms you can play

I wish I hadn't brought it.
I'm going have to keep one for myself. I'm spoiled.

This is a space as big as a football field with 40 ft. ceilings. All marble and concrete. Worst possible space to
play in.

I don't think the load in is that bad. The wheels are really nice and although it's heavy (70#) it's a very compact heavy. Dog bone handles are well placed and it was a piece of cake to lift it.

The biggest difference with the 210 is impact.

At first I was thinking "this is the best bass drum sound in the mix--it's so easy to hook up". Until I realized that the drummer couldn't be that telepathic. It was just what was coming out of the amp. Every note had a bass drum thump and impact. Never experienced that before.(to this level)

I was palm muting and playing on the B string. I can't describe how huge yet controlled the sound was. It sounded like a Moog at a stadium rock concert. Everyone in the band looked over and smiled. After the set I asked the sound guys how much they had goosed my volume during that song. They had pulled me out of the subs. (two 18's) They said my sound was a lot tighter and bigger than the subs.



I never had to go past playing with a lighter touch. It's so weird having that presence and never having the leader complain that the volume was too high. (which he often does)

First time putting the Flex through its settings. I used the default settings mostly. Mids in phase--one tweet on. Mids in series. Super fat but not boomy. The Big E cabs are susceptable to a rise in the upper bass/lower mids. We've found different ways to mitigate this with the various models. None of that with the 210. In the default setting it was a bit warmer up there but even. The notes have a noticeable thickness but no overhang and no boom. When switching to out of phase it was a more modern even sound through the upper bass. I used that setting a lot. (you have to realize that a room like this is a "boom" factory---first time here where I could control it)

I really like the Ciare tweets. Default setting is one on. For a slap tune I used both tweets. I'm not a good slapper but I really noticed that I had so much extra high end presence but never felt it was unmusical.

Now I know this sounds funny from a snotty jazzer but I love playing pop stuff. On Sex on Fire I switched to the dark setting. Tweets off, crossover point changed and the PX bulb engaged.And out of phase.

It's SVT time! Perfect focus with just a little grind.

Three guys in the band said that they noticed a huge difference when I switched to the Big E speakers but when I'd come in with different models they could notice a difference when they really listened but really the sounds were similar from cab to cab. They said that this was REALLY different. This room is so reflective and boomy---they said that everything was a bunch of moosh except the bass. Usually the opposite.The horn players 25 feet away said that they could hear me perfectly. And the singers said that it was easier to follow the tunes.

I've played this gig with a 46 before. Which covered the gig quite nicely at a much smaller size and weight. A 110Flex would have covered it. A 66 would be pretty close.I'll tell you---on the 210---having those mids at 30 inches and angling up is really nice. Usually--at least for me---when the volume is really crankin' the mids and highs get lost in that huge wash of sound you get in a venue like this. No matter how loud it got I could hear the mid and high end articulation. I don't play with a mid--forward sound---I didn't have to goose the mids and highs to have that articulation.

The first set was all jazz and I was worried that I wouldn't get an acceptable sound. It was just what I wanted.

This cab isn't for everyone. It's bigger and heavier than the other MAS cabs. (32 high by 26 wide by 14 deep and 72#)
And pricier. But the shlep was worth it for me. (yes--the guy who was making 30# composite cabs). This is a miserable venue that I don't look forward to. But I HAD SO MUCH FUN!

Oh as to the amp--Puma 900 at close to its limit. Maybe 800 watt peaks at 4 ohms. But you have to realize---it was a HUGE venue and we chose to have the 210 provide all of the bass sound with little pa support (by choice). This was much louder than most gigs I play. I was playing stupid loud and typically would rely on the house for some support. I think that 500 watts would do a respectable job---but if you want effortless headroom---I'd say 600 to 800 into 4 would be better.

Looks like I've got to get a cover made. I'm keeping this one.

AND---a note to to the mods (and some trolls)

everything here was in direct response to questions asked

The best thing about playing there was being right next to the skeleton of Sue the Tyrannosaurus. She appeared to dig it.

Very cool Mike.

I've been in that space. It is astounding that you were able to achieve such a great sound. I'm also quite pleased that the circuitry worked so well.

next day---same band very different space

in response to a TB question


Very different, actually. Wedding at the W Hotel. Ballroom approx.40 x 80 with about 25 foot ceilings. Playing across the short wall. I've played here before. Boom central. We needed to keep a lower stage volume--too loud and the room saturates and you can't hear anything.

I kept the settings the same (as the previous night) and I felt that I was getting enough thump but needed more midrange articulation.

At home when I switched to the Bright setting I thought that the mids were too hot for my taste. I decided to try it here. All of a sudden my sound was very similar to Bernard Edwards---one of my top 3 electric players. Very Music Man vibe but with an insane low end. Aggressive mids, but set off against a thicker low end. Very tight but with more note "thickness". Very different sound from the previous night but still very satisfying.

The sound guy in this band is one of those kids that would prefer no sound on stage so he could control everything in the PA. He and I had kindof been at odds about this for a while. He liked the other MAS cabs but still wanted them at a whisper so he could have complete control.

Well, last night he changed his mind. Took me out of the mains because he dug the sound. I was playing the beastly 210 but apparently I was playing at a lower volume than I had usually played in the room. I felt that I was at the perfect level to hear and feel myself.
I usually play with a darker sound but the aggressive mids seemed to balance well with the big, tight low end.

The leader (the drummer) who is always siding with the PA guy always bugs me about my being too loud. He was thrilled. The band played at a lower volume and we could all hear well. He asked if I could use the 210 on future gigs.

I was worried that at a lower volume I would not get enough vortexitude but it seemed perfect.