nottswarwick

[url="http://www.talkbass.com/forum/showthread.php?t=253449&highlight=ringing"]This is why the internet rocks[/url] Bloody splendid. Quick look in the USA GL forum, take pickups out, get foam, cut, shove into springs, re-install pups, wallop, job is a good 'un, perfect. Thanks you and goodnight lol, well pleased. Cheers Chris

my GL is strung thru the body, my SR5 is not. maybe this is the difference, but it cannot be right, surely. Anyone any ideas?

so, they don't all do that then?

Hi Loving my USA L2500, but just wondering if anyone else experiences teh following: When playing/thumping/slapping, the notes are accompanied by a high pitched "bell-like" ringing. You cannot hear it in a gig context, but it is there when playing alone. Now, when unplugged, you put your ear against the body and can hear it, and it gets through the elctronics to the amp. My SR5 exhibits the same symptoms in the "unplugged" test, but the difference is that the sound remains in the bass, and is not passed into the electronics. So, it this right? Cheers C

[quote name='alexclaber' post='102432' date='Dec 10 2007, 10:33 PM']Remember that as bassists we have to deal with long wavelengths coming out from our cabs directly to us, coming out from the PA mains/subs directly to us (even if we're standing behind them), coming from our cabs and bouncing off the walls, floor and ceiling to us, and coming from the PA and bouncing off the walls, floor and ceiling to us. All those waves travel different distances so there is phase variation between them. If the phase difference it 180 degrees at a certain frequency they fully cancel. If it's 0 degrees or 360 degrees then they fully combine and reinforce. And although you gain 6dB when the sources combine you essentially lose everything when they cancel. Obviously you can't move the walls, floor etc, and you can rarely move the PA, but you can move your rig and you can control the volume and tone - remember adding lows to your rig could result in less bottom if it just causes more of the bottom from the PA subs that you're hearing to be cancelled out. The drum monitor could be what's killing your stage sound by cancelling out your rig in critical frequencies. Try taking your bass out of the monitors and see what happens, etc. Experiment - but don't faff about, be quick and methodical. I wouldn't buy or sell anything, your rig should be plenty for the gigs you describe, you just need to wield it more effectively. Regarding the GRAMMA, for £45 less you can buy the PlatFOAM from studio spares which is the key component to the GRAMMA, it does the exact same job and you can cut it to the exact lengths you want. It's also a fraction of the size and weight. Alex[/quote] Thanks Alex, a great help. I should be able to sort what is not a major problem anyway. I think you could be right re the phase cancellation thing - it had crossed my mind and then I sort of forgot about it. Thanks Chris

[quote name='woodster' post='102399' date='Dec 10 2007, 09:24 PM']I'm with Alex on this. I run an LMII into an MB 4x10 and have never needed the master volume above about 12 o'clock. Like you, I have full PA support with monitors and play on little stages and big stages with audiences ranging from a few dozen to a few thousand. Personally, I've not noticed the compression at high volume tat I've also read about but I do find that room acoustics and stage construction (is it hollow) can have a massive affect on my on-stage sound. I'm often told my FOH engineers to turn my volume down but never up! Have you tried tilting your cabs back so they point at the back of your head? I find this can work well in some cases.[/quote] Right, that is my thinking too. I do sometimes tilt them, to good effect. Which 4*10 do you use from the range? And yes, both stages have been hollow, so that might confirm my thoughts. I love the LMII to be honest, and it has always been loud enough. I think another cab will be on the list. I will then have 3 - the traveler, which is actually great as a portable option; the standard 102, and another 4*10 to cover all bases and options (obviously only using 2 at a time - 4 ohem min load). Lets see if anyone has one up for grabs..

Now you mention it Alex, it might have been the last 2 gigs where I noticed it most. At both we were on those big portable stages, and they seemed o have huge bottom end, and perhaps sapped some of the punch? I cannot really domuch abou tthe monitoring - the drummer likes a huge monitor mix. Dont get me wrong, I can cope, but just thought I would post up to see what everyone thought. And this does not alter the fact that the LM2 DOES seem to compress at high volumes - the typical scenario is some big low note slapping - they are not as loud as you would think, and it feels like going into a compressor. At these 2 gigs the stages have been circa 8 metres wide by 6 metres deep, so quite big really. Maybe I should try and pick up one of the bigger MB 4*10 cabs and give it a try with my 2*10. AS an aside, I am quite surprised to find myself writing gbout this, as I am one of the biggest advocates of a quiet onstage sound! But with the pro rig this band hires in, I have struggled a couple of times, that is all. We are at the same venue next weekend for 2 nights, so lets see what happens.

Nice replies folks, thanks. I have read that the LMII does compress at high volumes, hence me thinking that this must be it. I just think it seems like more headroom would be needed. We are using big monitors etc, and I think this might be part of the issue - the drum monitor is like a PA, and I am right next to it so seem to need to wind things up to compete, although it does not seem loud really.

did you have an LMII before to comare Mike?

So, loving my Markbass stuff as usual. LMII, full 500w into my 2 cabs which essentially make up a 4*10 at 4ohms. So, I always have PA support, but we have been doing some pretty big stages, and I have been finding the limits of the LMII - basically as some others have found, at high volumes it compresses , meaingin that you basically cannot get it any louder. So, I was thinking, perhaps get an SD800 (the 700w MB head), or maybe a GK1000 thing, or maybe see what else there might be? I am after more headroom basically. Any ideas anyone Anyone used the SD800? Cheers Chris

8 piece function band gig at the Hilton near East Mids Airport, a sports ball. Huge stage and PA and light rig, and loads of guest singers etc, great but tiring. Listening to the desk recording and my Gand L is sounding awesome! Chris

not a combo, bui i use a lmii and usually a sinle trv 102p cab, so essentially like the two by ten combo. loads of depth, punch and clarity. any sound available, and 300 into 8ohm igie a vey loud sound. i was thinking about trying a 12 but not sure i will bother. one thing is that you should be very happy with this gear.

Just got this off ebay. [url="http://www.tonebone.com/re-bigshot-efx.htm"]EFX Looper[/url] Job done, and a great bit of kit. Bass into input, eff end to the tuner, output to radial JDI, and from there into PA and my head. The Radila stuff is superb, and excellently built, highly recommendede

[quote name='Bill Fitzmaurice' post='97074' date='Dec 1 2007, 02:15 AM']Two tens vertically aligned offer wider horizontal and narrower vertical dispersion than one twelve. BTW, since the obverse is also the case drivers should never be horizontally aligned.[/quote] Interesting. Why do so many off the shelf cabs have them horizontally aligned? Coet cutting? I certainly favour my MB Trav 2*10 vertically, so this must be why.. Cheers Chris

actually just looking at the RAdial Bassbone, or one of their true bypass switched - a bighsot i/o might be the thing. Thing is, we hire is proper pro spec PA for the big shows, and I need it to be right, and the best sound possible.

actually, you might have a point, as I am thinking seriously about some bug and heavy ampeg gear, as another hankering is for the valve sound.

Hi Just back from practice, and a bit confused. Set up was LMII into cabs, fine. Bu it does not have a mute switch, and I am not overly keen on running the signal through a tuner pedal before the amp - I dont use a pedal board, and would rather just pkug straight into the amp for simplicity. So, what GOOD heads have the tuning mute facility and a good pro DI output, so i can rack the head up with the rack tuner in the tuner out, using the mute facility to tune and leaving a clear signal path. Sorry it is late, and I may not be making too much sense. Chris

Hi Right, current rig is: Littlemark II Markbass Traveler 2*10, and/or Markbass Std 210 (the bigger one). Main bass - G&L USA L2500. I am now back in love with this bass, and it can do a great P-Bass sound in passive mode, whcih is good, as the reason for my posting is as follows: Above rig is great for my Function band - deep, clean, clear, versatile. However, I am starting to do some work with a powerful Indie Pop/Rock outfit, and I need the SVT style sound, using the passive P-bass mode on my G&L. The Littlemark cannot really do the "edge of tube distortion" thing, so I am wondering what to do. Options seem to be: 1. New amp head for the new band - SVT / SVT Pro. But not keen on this - heavy! 2. Valve preamp driving the littlemark power section via effects return. 3. Pedal type thiny - BDDI / EBS VAlvedrive...what else is there. So, what would you do, ar what DO you do? Anything you could recommend? Cheers Chris