mr gig

[quote name='dub' post='59856' date='Sep 13 2007, 01:22 PM']A good 31band graphic (pref. Klark Teknik) is what you need for monitors. The feedback eliminators can cause a bit of trouble if you leave them on search. You can hear the parametrics shooting around, trying to cut notes that are actually music not feedback! Some engineers method is to insert a graphic on each monitor, leave an open mike (no desk eq) onstage, turn up the poweramp/channel till they feed, then find the offending frequency and reduce it in the graphic then turn up the power amps/mic channel more till the next frequency feeds etc. This is effective but extremely unpleasent to listen to. It is also not possible if the punters are already in the venue unless you want them all to leave! You can find the frequencys and reduce them by the note they relate to on you instrument (440hz is A etc) if you find a chart of the notes this can be really useful as you can identify it quickly and turn it down in the graphic when feedback starts, after a while you'll start to recognise the frequencies. The best basic setup is to get the singer to sing through the monitors on their own (no eq on the desk channel) and eq the graphic till they sounds balanced and as natural as possible (this may not be possible with some singers!)[/quote] I don't know if the other feedback destroyers have this facility, but the new Behringer one I'm using has a freeze facilty. During soundcheck, it notches out all the feedback as you (puposely) wind up the mic levels to very high levels to induce feedback. You then freeze those settings for the gig. It's basically the same as spending ages doing the same thing with a graphic, but it's all done for you - and very quickly! There will probably be some automatic filters left on, but unless someone points a mic into the PA speakers or monitors, you're unlikely to trigger them. You can set the time those auto filters will stay on too, so they will just handle those weird things that vocalists do with mics and then reset themselves. I use a 3.2 kilowatt PA rig and 800 watts of monitors (in fairly small venues sometimes), and those feedback destroyers are great! Mr Gig

[quote name='stingrayfan' post='57656' date='Sep 9 2007, 10:44 AM']Been having a bit of a problem with our two powered wedges at the last couple of gigs. They're feeding back the minute you turn them up. Taken all the usual precautions like making sure we're behind the main speaker cabs but I can't figure why they feedback so early. We're a three piece who all have mics, and the two powered wedges run off an Aux feed on our mixer. We only run vocals through the mixer. Is there anything else I should be doing? EQ'ing? Positioning? We've tried doing a monitor mix first and it doesn't help. It's mainly the lead singer's wedge that causes the feedback. Tried changing his mic too.[/quote] Hi, You need to position them so the centre of the speaker is pointing straight at your eyes. If they are pointing at your knees, you will never near em, so you'll try to turn them up way too high! I usually put my monitors on a flightcase so they are aimed correctly if there isn't 3 or 4 feet of stage available in front of me to get them aimed correctly. To cure any more problems, the new Behringer FBQ2496 feedback destroyer is excellent. It was £100 from Digital Village. I use one on my main PA and I'm getting another one for the monitor system. You have to learn how to use them, but they work very well indeed. Mr Gig

[quote name='warwickhunt' post='57285' date='Sep 8 2007, 08:23 AM']Unless the physics are different for valve amps (jump in valve experts), in the event of a lead failure to one cab (where you have to outputs going to two separate cabs) there would be no chance of damaging the amp running one 8 ohm cab if the amp were selected to run at 4 ohm. You would have a drop in volume but no damage would ensue. However, that isn't going to happen as we all use quality cables and check them periodically [sound of steps disappearing into the distance and the shuffling of gear as the gig case is retrieved].[/quote] The main liability with valve amps is when the speaker blows open or short circuit (or some idiot disconnects the speaker) when it's being played through. Goodbye output transformer and also usually the output valves very quickly! Very expensive too. In your example above, all should be ok, but not ideal! The usual problem at a gig is that an old jack plug on a speaker lead goes short or open circuit. Again, bye bye valve output transformer/output valves. If your amp and cabs have XLRs for speaker connections, always, always use them. They lock in place and have proper cable clamps to keep the speaker lead fimly in the plug. I hire out a lot of gear from my studios and they all use XLR or Speakon connectors for the speakers. Result = no problems. Mr Gig

[quote name='BassBalls' post='56747' date='Sep 6 2007, 11:02 PM']Hi, Im new to valve amps and im concerned about the amount of heat im getting from my new Ampeg V4B. It might just be my inexperience but its getting very hot at gigging volume. Even a slight burning smell. Iv checked that the power supply is correct so its not that . I have also cleaned the inside out so i know the dust is not burning. Could i have the impedance switch set to the wrong one? Its currently at 4ohms running two 8ohm cabs in series. Any light that could be shed would be very much appreciated. Cheers[/quote] Big valve amps do get very hot mate. If it's troubling you and the dealer says it's not overheating, get an internal fan fitted like trace Elliot did on the V6 and V8 (two fans in the V8!).

[quote name='andy67' post='55862' date='Sep 5 2007, 12:33 PM']yep! Amazon also do Ampeg at very reasonable prices! Amazon Uk appear to be falling into line with Amazon.com! bang for your buck - apologies for the Americanism!!! Mrgig, you are correct, though some of the newer stuff is looking very sturdy indeed....I have the little brother of your V6 the V4 - these a particulalry bomb proof...however, early models/prototypes were very prown to failure do to over heating... btw, want your v6 swap my american pbass for it?? andy[/quote] If the designers actually design the amp for road use/abuse, then all's well. If they design for cheapest build cost - beware! I don't know if your V4 has a fan in it. That's probably Trace's cure for the overheating. My V6 has one fan and my V8 had two. I miss that V8... Thanks for the offer of a swap. but I need cash to build Studio 3 here (add to my mighty empire - hah!)

[quote name='dood' post='55754' date='Sep 5 2007, 10:03 AM']I saw Ashton gear at the London Guitar Show.. once I managed to take my eyes of the bikini'd lady handing out flyers. Quite a solid looking amp actually. Didn't hear it though. @ Mr Gig.. I'd have to question your point about 'circuit board' designs being prone to failure. I don't think it is that the 'circuit board' designs themselves are at fault.. more over that some companies use cheaper thinner boards with lower quality tracks and mountings. I feel it is this that is more likely to cause problems. There are so many companies that do not 'point-to-point' and have few failures. Take the Trace V-type amps for example. I'd describe those as practically bomb proof. £500 on amazon for a valve amp is certainly a bargain, I'd like to have a play on one![/quote] You're dead right there - thin PCBs are the usual failure cause. A nice thick fibreglass PCB will take all the vibration you can give it! I've got three handwired 60s valve amps, including a Laney Supergroup. You replace the valves and the occasional pot and a valve base once in a while and they just keep going. Over 40 years so far and counting. Those nice thick wires inside the amp just go on and on. Mr Gig

[quote name='andy67' post='55274' date='Sep 4 2007, 02:08 PM']any one got experience of these all valve 300 watt amps? seen them on amazon for £500...all valve? maybe entry level but thats a lot of bang for the proverbial buck!![/quote] For that price, it will be circuit board built. That's ok for home or studio use, but take it on the road and it will be prone to failure. I get quite a few guys with modern Marshall valve amps in my studios and they suffer from unreliablity with them. The older handwired amps seem to go on forever unless you drop em down a flight of stairs. Quality don't come cheap, as they say. Maybe that's why Marshall still make handwired amps, if you can afford them. As well as the sound, they will hang together longer.

[quote name='Chopthebass' post='49801' date='Aug 23 2007, 08:44 PM']I've seen Furman conditioners mentioned quite a few times on BW but never actually known what they do. I'm reasonable technical but can someone explain what they do, and when they are used? I saw them mentioned recently regarding problems with a DB750. Now I'm about to buy one of these Agi's so I'm interested! Cheers Ian[/quote] A very easy way (and a good way of making the supply more safe) is to use a transformer rated at 240 volts in and 240 volts out - i.e. 1:1 ratio. That will clean out just about any mains borne rubbish that exists and help protect you due to the way they are wired. (I won't go into the tech stuff here). Obviously, It needs to be rated above the wattage of the gear you use. They should be available from Ebay or other suplliers under mains isolating transformers. Even a new one should be under a hundred quid for a 1KW continuously rated transformer. A big transformer acts as a high frequency filter. The one in the power supply of your amp is already doing that to some extent, but it can't get it all. mr gig

[quote name='fede162162' post='54511' date='Sep 3 2007, 12:21 AM']I dream to erase paint with time and swet! =D it's more affascining and cheaper [/quote] Wow....you have a LOT of playing to do! It took me two days with sandpaper on my bass...

[quote name='fede162162' post='54507' date='Sep 2 2007, 11:51 PM']hi,i'm gonna introduce myself. my name is federico,and i hope to join with yours thousands of informations with you! glad to see that bass players are a strong community in UK! in attaccments you can see one the sweetest among my basses! [attachment=2095:ffbass_custodia.JPG] i also love my warwick corvette '96 with active emg and yin and yang inlay made by liuthers at the 12th! but i am a gas victim,and are many the basses that i buy and sell to re-buy,to try everybass on the earth. i love all the fender jazzs,and i love less precision,but they are perfect for my band sound,and so my guitarist wants precision! =D i love the wood sound,so is difficult to see me with bass that don't are fender or warwick =D[/quote] Hi Federico, Welcome! Good to see you like Fenders too. You will hear a lot more of the sound of the wood if you take all the paint off the body and just put very thin varnish on to protect the wood. My '78 precision vibrates against me when I play it now and there is a lot more middle in the sound. Mr Gig.

Been playing for 30+ years, mainly original rock. I play bass like a drum kit with notes. Emphasis on timing. The idea being that I'm as tight as the drummer (or tighter in some cases!). That's where the power of a rhythm section comes from - timing. Having written a lotta basslines, I play what the song needs. If it needs 100 notes, it gets it. If it needs 3000 notes, it gets it. Point being you're there to play music and entertain an audience, not show what a smartass you are! Do a bass solo if you wanna show off. Having said all this sensible stuff, I forget all that and throw in some weird fast stuff sometimes in a live show, just to see if I can trip the drummer up - a bassman gotta have some fun! Mr Gig.