Monckyman

[i]An SM57 is a great work horse mic, and wont break the bank, but it wont capture very deep bass either.[/i] True, and they don`t sound bad on a bass cab IF you only intend to capture the valve or distorted grind, they don`t catch much below 125Hz [i]One thing to steer well clear of is kick drum mics on bass cabs, they are designed to scoop the mids pretty radically, and you really dont want that on bass! [/i] Sorry, but I have to disagree. IMO there is no such thing as a Kick drum mic, merely mics with larger diaphragms designed to capture low frequencies and with a high transient threshold to be able to cope with the massive peaks produced by low frequency signals. Some mics have become synonymous with micing a kick, such a AKG D112s or Shure Beta 52s or Shure SM91s but they are just as useful on bass guitar cabs.(except the 91, as it`s a flat boundary mic and just sits in the drum!) All mics have their own characteristics, but most large diaphragm mics suit low frequency work better than smaller diaphragm mics like the SM57. A cheap alternative cropping up in clubs nowadays is the Audix D6 but the Shure Beta52 regularly comes up on the bay and here for around £100. This mic has been the kick AND bass cab mainstay of the festival circuit all over europe since it was released. I can`t vouch for the Americas. This has been my personal experience and not meant to piss anyone off.

Thanks for any feedback left, MM

Well I think it`s a great idea and the Mag coming back to stage idea was for the other members of the band rather than you. The phase manipulation will be dead useful too. I`m presuming any treatment of the Piezo will be left to the FOH engineer? I`ve sort of used this idea on other instruments where I needed different treatment for different members of the band. Basically I split for instance the bass D.I into two chans and dedicate one for the band and one for the bassist. This way the band can have a cleaner sharper EQ and a good bit of compression chosen by me, and the bassist gets to hear it like [i]he[/i] specifically wants without my compression. Used this on metal drummer kiks, deaf vocalists who need loads of midrange,etc So, this takes that technique a step further with diff pickups for different jobs. I like. Would love to hear how it works out. MM

Please keep all experiences and comments on this amp coming, I`m half way through raising the cash for one and enjoy hearing about them being used. Ta MM

I think you could get away with a fair bit of Mag in the monitors without any problems but you then have three different aspects of sound, Backline, FOH and monitors. Just need to be on top of it is all.

Erm.No, can`t think of one really.. Your Piezo will be picking up stage noise anyway, and monitors etc, you might want to be able to play around with the phase onstage in case there`s any cancellation with what FOH is doing. Not having done this I can`t really say but, won`t your playing suit the Mag pickups responses more than the piezo? Do you play differently when the Piezo is your onstage sound(apart from hiding behind the singer to avoid low end feedback)? What signal would FOH send back to monitors,if any? IE maybe worth taking the MAG to FOH anyway so it can be delivered to the drummer etc, or (shock horror) blend it in out front also. Worth experimenting. Please let us know how you got on, it`s a good`un.

Why does nobody ever "Lamb" up their cabs?

Birraglue you`ll never notice. And get your OWN bloody glue! Don`t be nicking your Da`s.

Great vid+song. How long before you all start singing jesus I need a piss?

[quote name='FlatEric' post='1258077' date='Jun 6 2011, 09:07 AM']Tom, look away now!! That is even worse than this. . . . . . OUCH! Who in their right mind. . . . . .[/quote] Ferkinell that`s appalling. A perfect example of the word "axe". ie: it`s been axed. Just stopped too soon.

I thought the stones only wrote one song? And if they didn`t surely there was only one bassline?