synaesthesia

[quote name='ahpook' post='80572' date='Oct 28 2007, 08:47 PM']plus the one... good amps and the best service i've had from an online/mail order firm.[/quote] I have amongst other poweramps, a Soundtech Ps802. I like 1U amps and have various makes of 1U amps. I like the Soundtech, it does what it is supposed to do, but beware the fans make a bit of noise. I changed my fans and they are still audible. Not that your audience will hear it but you will.

[quote name='wateroftyne' post='83315' date='Nov 3 2007, 10:20 PM']Some people will tell you it shouldn't, in theory, make a difference. The reality is a lot different if you're wedged into a tiny space at the back of a pub room, etc. I prefer front ported.[/quote] Sub 100hz, it is largely omnidirectional. But if you place a cabinet in a corner or against walls, then you'd get some acoustic coupling, and you'd get coupling of the cab and what audio it produces, not just the ports. You'd get acoustic coupling even with a cab without ports. Whether you'd like the results and whether you can exercise any control over it, should be what is in question here. I can safely say that I have played enough places to say that port position is not as important as having some form of audio control over how your loudspeaker cabinet or cabinets will behave given the various rooms, walls, tents, boats, hollow floors, grass and pebbled surfaces, mud flats, floating barges, flower beds, topiary, stone canyons etc......

Lighter fluid is what you want. Comes in a rectangular tin. Removes all glue gunk.

Sweet deal, no hassle - comes with recommendations of various world cuisine restaurants in his part of London. Ace.

[quote name='ZPQ' post='80229' date='Oct 27 2007, 07:12 PM']Absolutely - assuming Danny is buying the multicore from Thomann then it's so cheap that it's worth finding a "workaround" - which is probably converting a send to a return or running (part) of the rig in mono. 16 sends from stage should leave you at least a couple spare.[/quote] look into: [url="http://www.audiospares.com/home.php"]http://www.audiospares.com/home.php[/url] Not sure if their prices are more competitive than Thomann. I had my snake custom made and even then I modified mine to have a few more TRS 'returns'. Depending on the venue and the act, I sometimes use an on stage in ear wired system, which for us is effectively and additional parallel system to the FOH signals. We draw the drum mix from FOH mixer and I find that you can never have enough spare returns.

Use your clothes iron to heat the frets a bit, and you can pull them out with a fine edge as a lever or use a fret puller, or nipper. Do one and look at how the tangs bite into the fingerboard and your common sense will tell you how the rest willl need to come out. A veneer insert will always be cleaner to look at and will look like a line, a filled slot may look a little craggly depending on the type of frets used and how you pull them out. You may need a fret saw to deepen the slot a bit, as it makes it easier to deal with a bit more depth than the fret tang. Cut the veneers to the width or depth as close as you need so you can minimise excessive sanding on the fingerboard. An X Acto craft scalpel or an actual medical scalpel will work well with a steel rule on a cutting mat, the art & craft shops or the marquetry suppliers can sell hyou a craft scalpel. You can get 1 - 3mm veneer easily, and you may want to have bright/ dark contrast, or match the fingerboard if you don't need the lines to be seen. You can also use plastic strips. Either way if you do inserts, you may want to consider a colourless glue. If you are after the fashionable gloss mirror finish on your fingerboard, google 'System Three", the product you want is Mirror Coat 2 part epoxy. It is available in the UK from boat building suppliers.

[quote name='Crazykiwi' post='76842' date='Oct 20 2007, 04:58 AM']Regardless of which, my experience is that flat cabs don't work in all live situations. But they may work in some. All based on a recording context mate, which just supports the point I conceded to you earlier. I agree with you, as far as a recording situation goes. However you've not addressed the onstage situation and issue of [b]context[/b] that many players on this forum are likely to encounter. Does the average punter use a wireless? I couldn't tell you what the average punter uses in their signal chain. "Satisfactory" being a question of taste? Eh? [/quote] The tonal character of electric bass guitar as we know it is largely in the 60 hz - 6Khz region. It starts to drop off below that and above that, even your Alembic onboard bass preamps are designed to shelve off above 6 or 7 Khz. Most electric bass guitar cabs are direct radiator designs and are often reflex designs, most drop off at 60 hz, and many popular cabs drop off well above that. The bass guitar signal's harmonic overtones which make up its character is often higher up in the register, particularly if you choose to blend more bridge pickup tone. Consequently you are not sending a flat frequency signal to be reproduced, it is more often a spiked frequency signal, particularly if you want to hear note definition on stage. Try this: Go get a variable low pass filter shelving off anything above 45hz, 50 hz or 60hz and feed your cabs nothing more than your electric basses. I vary my stage hi pass filter for different venues, stages. See how much you can hear/feel and how much of that interferes with what else needs to be picked up/ mic'ed/heard on stage. Then try the reverse and feed your amps with a high pass signal shelved at 45 hz -60hz. You'll get a much tighter bass sound, less stage low end mud, less interefence with other instruments, less sympatathetic resonance that you do not need to create in the first place, and you'll still know its a bass guitar that goes very very low, gives lots of slam, flaps your pants and can be heard. I have chased the nether region mate for my bass rig and found it using a good sub in a 4 way system, and you know what? When you have it you may find that you did not really need it after all. I am not talking about taste, but the seeming 'need' for reproducing 35 - 40 hz for bass guitar, and the belief that is vital for bass guitar, or worse that it does not interfere with stage audio management. I think most of live low end gratification for bass guitar slam or bass drum thump is really in the 60 - 100hz region.

Been three done it bought the t shirt mate. For loud gigs I play though an electronically crossovered sub powered by an 800 watt power amp, and usually I run a -12dB filter at about 50hz generally without losing any satisfactory trouser flapping bottom, either in playing an Alembic, a Rick, a 7 string Conklin etc. In 12 years of commercial recording and mixing, I've filtered electric basses of at 60hz depending on tracks. In a mix particularly for pop or rock records, this is quite a common so that you have a tighter low end, and a punchier recording, particularly if the track will be compressed a little at mastering. Your generic 4X10 bass cab doesn't really go very low in the nether regions and many people claim 'deep' bottom end nirvana with one - your average punter playing through a cheapo wireless which starts to filter off at 70 to 90hz (your freeports, some samsons, som AKG) claim they hear all the way to 35hz of their B string. My point is searching for flatter response towards 40hz whilst perhaps necessary for PA and DJs reproducing synthesised frequencies isn't all that necessary for satisfactory electric bass guitar reproduction. The heritage of established and acceptable tonal character of bass guitar given its definition via its historcal development with generally poor audio reproduction equipment added to the fact that many players post Jaco choose to emphasize their bridge pickup sonic character supports my claim.

[quote name='Crazykiwi' post='76721' date='Oct 19 2007, 08:27 PM']I think the point Alex was making is that its all a question of taste, at the end of the day.[/quote] I think he is defending his ownership and choice of said cabs more than anything. I respect than an Acme sounds smoother than most 2 way designs, but then hey, my own design 3 way cabs with a 1X12, 1X6 and a peerless horn tweeter that i have beeen gigging with since the mid 90s sounds smoother than most 2 way bass cabs too. But he claims they are 'flat' to his sharp ears, without measurement. I think that you'll find most 3 way cabs would sound flatter than your average 2 way cab with a tweeter and high distortion. Do the Acmes go deeper than any other design? Without comparative measurements it is a moot point. What is probably not reflected in this argument of mine goes deeper than yours is that that tonal characteristics of electric bass guitar actually does not need to, nor for the most part want to go that deep and in most cases does not produce a flat response down to 40hz.

[quote name='Mikey D' post='75867' date='Oct 18 2007, 01:17 AM']Hello, if you want to know more about me or my playing send me a PM if you are interested in adding me to your list. Based in Central Birmingham and studying jazz at the conservatoire. Fretless or double.[/quote] PM me with some contact info?

[quote name='jakesbass' post='75691' date='Oct 17 2007, 06:45 PM']More than happy to be on your list as it were. I'm in the south east but if theres money I'll travel, or any you might want covered in this area also. I play double as well. Jake[/quote] Hey Jake Check your PM box

Hi Am in 2 working standards piano-bass-drums trios, one contemporary pop.jazz quintet and will be showcasing a new soul band with a terrific yank singer chick in Nov for some agents....so far no gig clashes, but what I am looking for is someone prepared to take some jazz trio dep gigs as I may have one or two clashes in the Xmas period. Mostly midlands, .. nothing more than blowing changes thru charts of various fake books at various tempi...typical and not so typical standards, bossas, some bop charts,. Fretless or fretted electric. Not looking for someone to rehearse, but for someone who can turn up and play what the pianist might call up... Night in Tunisia, Orinthology, All the things you are etc etc

[quote name='OldGit' post='75107' date='Oct 16 2007, 03:58 PM']Have you tried the t-bird neck dive fix on your bass? [url="http://www.lysator.liu.se/~wizkid/music/thunderbird_mod/"]Here[/url][/quote] It's a tele bass I built. Pretty much like a G & L ASAT. I have found a good strap with some suede on the underside works well. ...nothing's perfect....A J is nice to strap on but a bitch to play on your lap, and this tele is a dream in the studio, sits nicely on the lap, gets all the tones I want but it is not the most confortable strap on....having said that, the positioning of strap pins can help some instruments but not all...if you have tried a Gretsch White Penguin you'd know......the neck gets 10 from the hi dive judges....

I had the 4001CS lefty, and still have my 4001V63 lefty. I had the CS first, and got the other becuase it was jetglo without binding and I could string one with flats and the other with roundwounds. Swapped strings etc... the sonic difference? I didn't find any to be honest and I worked in recording studios and tested both in comparison extensively in the 90s....., the 4001V63 has the same pickups. Sold my CS to a US Yes collector for a high profit, as mine was one of 4 lefty CS models made. Didn't have to sell it but I thought I might as well cash in. Still have my v63 dot neck. Great bass. The pickup at the 'bridge' - more like the middle really, you can take the horseshoe assembly off, don't let anyone tell you you can't. They are 2 folded metal pieces. I have had mine on, off several times. Presently I think it is off, took it off a couple of months ago. Sonically, if you want a rick and don't need the cosmetics of the investment models, any rick will do if you get the toaster, hi gain or whatever pickup fits your fancy. As one vintage collector told me, a Rick doesn't get any better in age - which is an inverse compliment that the QC is typically high. RIC did not have a bad patch in their manufacturing output in QC terms, unlike Norlin and CBS eras of Gibson and Fender, or Baldwin Gretsches.... The QC on colour is something else. Whist not actually bad, the consistency of the sunbursts, i.e. fireglo varies somewhat. My 360/12v64 LH is a bit redder and less yellow than others I've seen. According to Mark Arnquist, a repairman who used to work at RIC, the fella in charge of spraying was clinically colour blind! Frankly Chris Squire's tone has a lot to do with his amp set up despite using a Rick, though I grant you that the basis of the tone was from his Rick.

[quote name='Bassman7' post='71981' date='Oct 10 2007, 07:37 AM']If you're looking for a good deal on the Pro version of Duracells look up the Studiospares website at www.studiospares.com where you'll find some good prices.[/quote] RE: Procells Look in Ebay and you'll find Procells for roughly £1 @ depending on how many you buy. I've pretty much stopped using rechargeables when you can procells at these prices. Procells are 'industrial' versions of Duracells, i.e. much the same thing with a different dress.

I'd imagine you'd have to sand it off. Or VERY carefully use paint stripper, which does work in layers.. the danger of course is dissolving the resin surface. Carbon Graphite is a misnomer, the main content is resin and carbon graphite is really the reinforcement.

RIC parts contact Mike at music conection [url="http://www.the-music-connection.com/ric.htm"]http://www.the-music-connection.com/ric.htm[/url]

[quote name='alexclaber' post='62080' date='Sep 18 2007, 11:03 AM']It feels like a bit of a leap of faith going to a rig which has no EQ apart from a handful of preshapes but if the rest of your gear sounds good and you're after a true and clean sound then it's unbeatable for the money. Alex[/quote] It seems mysterious but it shouldn't. A sax player goes on stage and he doesn't think EQ but tone. Start with the right gear and you shouldn't be worrying.

[quote name='Crazykiwi' post='61703' date='Sep 17 2007, 02:36 PM'][url="http://www.avalondesign.com/vt737sp.html"]http://www.avalondesign.com/vt737sp.html[/url] I recorded through one over the weekend and the sound was pretty good. I particularly liked the combination of super quiet electronics, compressor and tube preamp. But at £1200 or so, they're going to be a little pricey for most. Has anyone used one in their bass rig?[/quote] Yes. These have been out a while, I think they were new about 10 years ago when I was doing a lot of TV soundtracks. This model is not as celebrated in the BG world but if I remember it has an instrument input so it is not like you'd be forcing a mic preamp to work for you.

I bought one. You are welcome to buy it off me. Works as a strapand may distribute the weight a bit better across your body, but didn't work for what I thought it might cure - a neck dive bass (telecaster shaped body). PM me if you want it, it's the D'addario one.

[quote name='Johngh' post='56831' date='Sep 7 2007, 09:24 AM']+1 Your not kidding. I posted a comment on the EB forum about this subject and thought I was going to get shot ! [/quote] Nothing new in that sort of behaviour in the branded forums. The Alembic, Rickenbacker, insert your brand 'here' etc etc etc forums are places where blasphemy and sacrilege cannot be tolerated.

I got rid of all my DATs. ADATs, a long time ago and my last Nakamichi couldn't be used anymore when Nakamichi stopped producing replacement tapeheads.....Looked around the house, and found that I actually still have a 'tape' recorder: I use a Sony VHS video recorder, the sort that would record hi quality audio if you find the ones that would print audio on separate tracks to the video. as opposed to the type that would print audio and video simultaneously. You could also use those..... I'm sure you can pick one up cheap as no one wants VHS anymore... It 's effectively a 2 channel ADAT. It might seem cumbersome but you can let it run for 3 hours.......about one full rehearsal on one VHS....then you take it home and bounce/edit it digitally if you need to. Mine has standard RCA ins and outs. You can set up stereo mics via a little preamp and feed it, or take a feed off your desk. I use a small behringer mixer and run 2 or 3 mics if I reherase a trio or quartet, or run a feed off the desk if we are using a desk at rehearsal and there are more players/audio sources.