Ghost_Bass

Can't really comment on your specific case but i got a pedal from a US online store a few years back and they declared in the invoice that it was a waranty repair return, i didn't had to pay custom taxes for the pedal or any parts. The full value of the pedal was on the invoice.

I frequently find old solders that are way harder to melt than newer ones. Melting a bit of solder on top of it is the best way to melt the hard solder. That and the fact that i only have 60W soldering irons!!! I must be an animal...

HJ, you have my vote for the "Best Thread Title Of The Year" awards!

I won't read through the thread but i would like to let you in on a recent experience i had. I've been using my trustworthy Klotz Funkmaster to connect bass to pedalboard, George L's between 5 pedals (all true bypass) and a self-made Neutrick/Klotz cable from the board to the amp for the past 10 years or close to it. Recently i've started to heard noises and hiss when playing, normally raised when hitting the overdrive. I tried everything to track it down from bass battery to amp valve. Finaly i was convinced that i needed to replace my old effectpowersupplies.co.uk (now fxpedal.co.uk) 3A 8-daisychain PSU for a new, isolated one, because when powering only 3 pedals it would be silent. I had to use 3 diferent PSUs on two gigs to power everything up until i noticed that a bit of noise was still there in the background. Opened pedals to clean them up with contact spray... etc... I found the solution in the most unexpected way. Having removed the pedals from the board i had to use them separate on the floor and the patch cables were too short for me to hook up all the PSUs so i grabbed some old warwick rockbass patch cables from the spares box and hooked it all up. Instantly noticed all noises went away. After a bit of an eureka moment i started hooking everything up the my inicial PSU and no noise (except the one i got when moving the cables around, i told you they were old). Ended up saving a lot of cash as i discovered the Geoge L's were to blame for the noise and started looking for good quality patch cables with short jacks to keep the pedals as close together as possible. I even thought about those EBS jack to jack type connectors and when looking them up found this solution: Nice and compact, sturdy and at 5€ each it didn't broke the bank. EBS also has a gold plated model wich has even better conductivty (so they say). They're even more compact than the George L's i had and now i have a few more cm free on the board. Moral of the story: Good cables are essential for good signal quality but they also decay like the others and from time to time you need to check them to see if they're still in good nick.

From experience, i still have the Promethean P5110 combo and had the promethean extension 1x10" cab in the past. Being the combo way heavier than the neo loaded ext cab i decided to swap drivers to balance the weights a bit more. My findings were that the neo cab wasn't has heavy on the "heft" ( can i use the "h" word to talk about such a small and powerfull combo? you bet i can! ) department as the original ceramic one. so... no surprises here. the combo is already small and light, why would you want to compromise it's huge output replacing the driver with a neo? I believe that Aivin Beta used either Beyma or B&C drivers on these amps

Shared Google calendar (everybody has a smartphone these days) lets us kee track of available dates to book. Everytime someone knows he will be unavailable we put it on the calendar. Simple and doesn't take time to keep it updated. If your band members are really interested in playing with the band this shouldn't be a issue.

[quote name='stevie' timestamp='1505904785' post='3375073'] You won't lose bottom end with one of those. I'm not sure what the definition of a tall stand is, but if you go any higher than 18", you will lose bottom end. [/quote] This is what i use: I do notice loss of the bass coupling but i gain definition and can lower the volume. I use this stand everywhere.

I had one, replaced it for a Alembic F1-X and honestly didn't found it was a huge upgrade. The PB1 sounds great and the Q control is very usefull in a hard room. Wish i had kept mine and saved some money.

I always put my cabs on a tall stand, even the 2x12". This way i can hear my tone at ear level and have the master lower. I always go in to the PA so i don't need/want any sub-lows on stage. I do see the advantages of floor coupling for others that need/like those lows, in that case tilting the cab may be helpfull. To the OP, you say you think your rig is too much but remember you're standing right in front of it, take a few steps further and the bass will start to get filtered/damped by the the room/audience/etc. and you may find that the 8's may not reach the back of the room as well as the 12's

Lots of things you're not taking in to consideration here Blue. If you plug the headphones directly to the board you can't predict how your amp will affect the sound with it's preamp secction and it's own "build-in colour". You should have your amp with you and plug the board to it, then get the headphones out of the amp. Even doing things like i've describded there's always the cab to consider. Most cabs on the market are coloured, and very coloured, to a point that you need to aply EQ in the amp to make them sound... er... "better". 2 ways to solve your problem: - You can get a transparent rig (amp+cab), set flat, so that the sound leaving your board is as close to the sound out of the cab as possible - this is an expensive route! - You need to set up your entire rig at home/reharsall place and mix the sounds hearing the rig at volume (without headphones) - this could lead to unpleasant discussions with neighbours!

[quote name='obbm' timestamp='1505304983' post='3370882'] It'll need a 240-volt power connection and I'm not sure that I'd want to be hooked-up to the National Grid like that. Perhaps what's needed is a Beltpack Nuclear Power source. [/quote] Ahhh! I would expect this reply from everybody but you! Surely you're already thinking about building a heavy-duty isolated cable with a trip switch embeded to prevent this issue! Gold mine, i tell you

[quote name='Happy Jack' timestamp='1505301964' post='3370836'] Can't you just wear it on your belt? [/quote] Why not just have it build-in the bass? It would fit the preamp chamber and all that's needed is a cab and a speakon/jack to hook up the bass to the cab! Somebody crazy enough to try this?

You can allways have a new neck made to fit or even have your old neck in a luthier to replace the fretboard with another with extention for the 24 frets. Will be easier than modding the current new neck or body.

[quote name='Sweeneythebass' timestamp='1505209921' post='3370187'] Cheers guys lots of info it did occur to me after posting that selling the 350 and buying a 500 would do the same thing and might be simpler. However if say I wanted something ridiculous like 1200w of power and a power amp that could run at 2 ohms ? [/quote] For this i would say best option is to use the DI out but i don't know if your DI sends mic or line level signal so you could need another preamp (like a small mixer) to boost a possible mic level DI signal in order to get the best of the 1.2kW poweramp. Check your manual. Regarding the tuner out, i would bet that it's before the preamp, there's no need to send EQ to a tuner, it will only make it track worse, unless the manual states that the tuner out can double as an headphone out... but that should be written on the backplate...

Just cope with the overhang, place it under the cabs or on their side in a stand that keeps it horizontal. Can't remeber how my old Trace was on the inside but they have heavy components in there and having them on their side may (or may not) cause some stress on the weldings and PCBs, not to mention the heating problems that were explained earlier.

Good decision. Modding a bass would make you spend money that wouldn't add value to said bass. Buying another will make your money more worth in a possible future sale.

I've had the same experience as Kevin with my drummer but with cabs standing on his side. With one cab (Aguilar GS112T) i had to rotate my rig so it would point a bit to him to allow him to hear some note definition. [quote name='Phil Starr' timestamp='1504721595' post='3366908'] The trouble is you are comparing chalk and cheese. You aren't comparing speaker cabs with the same drivers in, they aren't the same shape, size and the ports are all different sizes and shapes. In addition unless you did your testing all in the same room with the speakers carefully placed at the same spot using the same bass and amp with the settings all identical it isn't really a fair test. Oh, and you'd have to put the speakers behind a screen and the assistant switching the speakers round wouldn't have to know which was which either, a double blind test. What I'm hearing is that you prefer some forward ported cabs to some rear ported cabs. You are probably right but that isn't necessarily about the port. Most of us prefer the look of a traditionally ported cab (me included) they just look right. The reasons for putting the port on the back are usually to do with the restricted size of modern cabs. (...) [/quote] I like a modern, flat EQ, sound. My bass is full range, i don't touch the EQ on it and the amp, amp isn't coloured also. I think the fairest comparisson between cabs i can make is the Genz Benz STL-12T and the Barefaced Midget-T, both have similar specs, similar drivers, modern, and uncoloured. Amp is the GB STL9.2, it has a built-in HPF so both cabs handled the same low freqs. GB cab was muddier on stage, drummer kept asking me to cut lows. BF cab was tonal heaven for him. For me, with the GB cab i had to turn it up a notch to feel a bit of mid-bass punch whilst trying to cut down the boomy sub-lows. BF cab was straight up flat with plenty of punch and definition. [quote name='Bill Fitzmaurice' timestamp='1504726961' post='3366961'] (...) The science of audio always works, whether you believe in it or not. (...) [/quote] Math is true and universal, i know that, i'm an engineer. The Science of Sound is true also but in your proofs and charts and freq response curves you're showing me how a cab behave in an ideal and controled situation, you're not taking in account where i play and how the stage is layed out. My rig isn't for FOH, i'm fully aware thay if i moved to the center of the room i wouldn't hear diference from front or back port but i'm standing there, 1 to 2m in front of the rig, drummer at the same distance on it's side, sometimes a wall 1m or less behind the rig... it all adds up! That's why i (again) say that FOR ME i don't want any more rear ported cabs and I DO can tell a diference in the sound on stage between both configurations. Cheers

Sell both cabs and look for a Barefaced 2x15", they pop up on the sales section from time to time. It'll match your 8x10 in volume and won't be much more heavy than your current EBS cabs together.

My cats don't like me to play, they get scared with the noise. I practise in my studio with a closed door to prevent them to enter and spread all kinds of mayhem trying to flee as soon as they hear the first note. They do love my gear. They're allways climbing up my bass case and cables trolley bag and using it as a nail scratcher whenever i forget them in the lobby after coming home late. I've posted this here some time ago but they also have a special fondness for my cab... this one time i was replacing the tweeter and had to step out of the room for a while...

[quote name='chris_b' timestamp='1504717454' post='3366877'] With the port in front you get to feel the air coming out of the port. I haven't heard the sound change between front and rear ports but the feel is different if you are standing close enough. [/quote] Yes you're correct but i think there's even more to it than just that. With the port to the front it sounds more focused and punchy. The notes "breathe" more. The back ported cabs just throw me a wall of wooly bass that in some stages may become boomy. BTW, i use my cabs lifted to ear level and never in corners or backed against walls unless there's no other option available.

[quote name='Dan Dare' timestamp='1504709328' post='3366799'] Bill and Alex make a living out if this and know what they're talking about, so we should defer to their knowledge. (...) [/quote] I take all of their info with much appreciation and have a huge respect for their knowledge, in fact i'm happly using a cab made (and not defective) by one of them. I just listen with my ears and not my eyes. I like to choose what i try and find is best for me, not what others tell me to choose. I tried cabs from almost every high-end maker out there in all sorts of configurations (some owned by me, some in bass-bashes i usualy have with a small group of friends). I stand by my words, having the port aimed to the front gives something more to the sound, no mather how well designed/damped/braced anybody could build a cab. It's just my opinion, fundamented by my experience. You're all free to disagree of course, you can show me proof that you're right but that won't make me wrong, i'll keep using what works best for my sound. Cheers

[quote name='alexclaber' timestamp='1504638301' post='3366307'] (..) If a kick drum only made low frequency sound then your analogy would correlate somewhat but as lots of frequencies come off a kick drum and only the lowest are omnidirectional then it doesn't at all. [/quote][quote name='Bill Fitzmaurice' timestamp='1504639660' post='3366318'] (...) You will hear a difference with any source based on where you are, but it won't be in the lows. [/quote] My point (even though i might have used a poor example) was that it isn't only lows that come out of the cab's port. When i stand in front of my cab i can hear (and feel) the "punch", there's something more added to the sound. With rear ported cabs i heard all the freqs but they lacked that [i]something extra[/i] that it's hard to explain without experiencing it. EDIT: A question for both of you. Mids and Highs are unidirectional in a bass cab right? But there's allways some bleed to the back of the cone. Isn't it possible that those freqs might reflect inside the cab and leave through the port along with the bass and that may translate in to [i]something more[/i]? Don't give me text book answers please, i'm not a sound engineer, but i'm a very practical person and this makes scense to me. Cheers

I'll give you an example to explain my POV, imagine a kick drum, stand behind it (next to the drummer) and listen to the sound. Now move to the other side, in front of the kick port, and listen to it. Isn't it different? There is some sound and tone comming out of the port, not just air, not just the tuning freqs. In practise it will add up to the rest of the cab's tone and make a (small but present) difference.

The theory is correct and fine but i've had front and rear ported cabs in the past and i could swear the front ported ones gave me more kick and less boom. Had and tried several from diferent brands in different gigs/rehearsalls (raised and away from walls, etc.) and i don't see myself owning a rear ported cab anywhere in the future. IMO and IME obviously.

[quote name='BigRedX' timestamp='1504526258' post='3365422'] Yes and no. The problem with bridging into mono is that it changes the impedance requirements of the cab(s) being driven. A stereo amp capable of driving an 8Ω or 4Ω cab each side will require an 8Ω or 16Ω cab when used in bridge mode. So for one 8Ω cab it's fine, so long as the cab is capable of handling the bridged power, other cabs and combinations may require specialised cables to get the impedance load right. [/quote] The poweramp i use is a KMT DC5 dual channel that goes down to 2ohms in stereo (500W each) and down to 4ohms (1000W) in bridge mode. It's class-H so no lack of heft and only 1U rack size. It's a bit heavy mind.