brensabre79

[quote name='aende' timestamp='1358171994' post='1934166'] I have no flippin' idea! [/quote] [url="http://www.loudspeakerdesign.co.uk/"]Here's[/url] a good place to start. Don't mean to be rude but there is so much to speaker cabinet design that I think any explanation will only raise more questions. I don't fully understand it myself, but i know enough to not attempt it alone. It is far better to design the cabinet around the driver than the other way around for a start. To answer your question, I think the driver resonance should definitely [u]not[/u] be the same as the cabinet resonance... As I understand it... The idea of tuning a cabinet to a low frequency is usually to extend the frequency range of the driver downwards or to even out the frequency response of a driver (hence bass cabinet design is the most important). e.g. If the driver has a flat frequency response down to 50Hz, a 40Hz tuned cabinet will extend the frequency response downwards, but anything below here (say 30Hz) will tail off more rapidly. If the driver frequency range goes down to 20Hz then the cabinet in question will cause a hump in frequency response at 40Hz, making that frequency louder than the others. this is all theory though as in the real world things are quite a bit more complicated. Heres a picture of a typical frequency response...

Love it, count me in if it makes its way to Sussex I do about 4-6 gigs a month so should be an easy handover

Personally I wouldn't bother. The Badass will pobably leave a little outline rash. Plus you'll have to drill the holes and get ferrules in for the string through, so no going back once you've done it - even if you don't like. Its more likely you won't notice much difference anyway. I've got two Jazz basses, one string through with a Gotoh bridge and the other with a Badass, the one with the badass has better sustiain, but not sure if its down to the bridge or not to be honest - although I'd hazard a guess that the bridge has little to do with it.

Same here, I go through a horrid few moments when I see something I like in that I want to play it, but I don't want to play it. In this moment I freeze completely, except perhaps to point at it, after which it is usually handed to me by a helpful salesman who plugs it into the loudest and most expensive amp in the shop and says "go for it". At this point I begin to shake a little, and all of my fingers lock into a kind of claw shape. When I eventually compose myself I play it with the volume completely off, to see how it feels, work myself up to playing very very quietly for a bit. If I get past that point, its probably going home with me anyway, but then I know what I like and 90% of the basses I try don't get past 5 notes. I'm the first to get up at Jam nights, and the words "Bass solo" are like a red rag to a bull, but for some reason, in a music shop I am a gibbering wreck! Maybe this is why I built my last 3 basses at home

I saw one of his earlier ads a few years ago, he was actually really straight forward back then. He simply said some thing like, "I bought this ElCrappo bass new off eBay, I've given it a full setup so it plays nice, and I'm selling it on for a few pounds more to cover my costs." Fair enough right? A cheap bass that plays OK and for less than £150. Even I was almost tempted, were it not for the fact I can do a pretty good setup myself. These days he seems to be getting more ridiculous with the sales pitch for each ad. Its obviously working for him. And he seems to be buying knackered old Korean crap and making out that they are exactly like a "1962 Fender Gibson Rickenbacker Jazz Precision Grabber 4001- as played by Mark Knopfler from the Beatles" after he has finished with all his beeswax. Idiot.

Just stumbled upon this thread. Looks interesting! I'm a bit late to the party (and my studio is all packed up after house move) but I'll join in for the next one deffo!

Splitter!

Welcome from Mid Sussex

[quote name='dood' timestamp='1357584512' post='1924917'] ha ha! It reminds me of my mate's 'DFA' control. He used to do monitor mixes for big bands on stage. Many an amateur band would 'gesture' him angrily to crank up the monitors or sort out their on stage tone problems - and indeed more often than not, on seeing him turn a control on the desk, it'd be thumbs up and a thank you. Which was funny as the control 'Does Feck All' - it, like the studio switch wasn't wired in! [/quote] haha Yes I used to do monitors for local band nights, I just used a spare channel and made a big deal out of turning it up full. Usually a thumbs up and no more bother. Very occasionally you would get some a/hole who would continually ask. Once I got someone who told me to "turn the f***ng monitors up" over the mic in between each song! A quick burst of feedback in his face put that to bed.

Can't you just put your 2x12 on a couple of beer crates so its at head height? You'd be amazed at the difference, both to how well you can hear and your wallet!

I would remind the winner that it is collection only, and tell him to sort it out. You will require confirmation of pickup within 48 hours or you will sell the bass to the next highest bidder. Then contact the next highest bidder and offer it to him for the price he bid if you are prepared to.

Depends what suits you. The main difference between a J and a P is that the Jazz neck is narrower at the nut, just a little but enough to make a difference. There are details as to the exact widths on the Fender website. But with each type there are variations of profile, so some are thicker than others (front to back), this is based on the neck shape, ranging from baseball bat to wafer thin. It's really down to the individual as to what will be best for you. Personally I prefer a Jazz neck because I have short fingers and the Precision is always a bit of a stretch on the low strings for me.

Replace it. That's my suggestion. Keep the original somewhere but I doubt it can be invisibly repaired to be honest.

Sorry it was a bit of a joke. The studio switch is just a dummy switch. It does nothing except convince the engineer you have changed something when in fact you have not. I put one in on a bass that had an extra hole years ago, just to fill the hole, and was surprised how often it worked. If you want a useful switch, you could add a [url="http://www.1728.org/guitar10.htm"]series/parallel[/url] switch for the two pickups. It adds an extra sound, basically both pickups wired in series to give you a much beefier sound - a bit like a Precision. I do have one of these on my main bass and it comes in handy at gigs sometimes as it does boost the output slightly.

Nice

It uses snake oil to achieve true bypass functionality in either mode.

To have a headphone socket, it would also need a headphone amp built in (yes even headphone speakers need an amplifier). As it has neither I would recommend taking a line out to something which has a headphone amp in (like the Xenyx you have) as the easiest option. Although this would not kill the TKO's internal speaker so not sure its what you're looking for... If there is an effects send you could try that as it will break the chain between the pre-amp and the power amp usually.

I've never had this issue with my Shuttle / S12, quite the reverse actually, but the Shuttle does have a bit of LF rolloff built in - I'm not sure the Streamliner is the same in this regard. I run mine pretty much flat, but with the LF boost on. FWIW a number of modern cabs actually have a low mid hump in the frequency response to get the on-stage sound nice and punchy. It makes the cab seem louder and clearer, but sacrifices true bottom end. Schroeder cabs have a particularly prominent mid hump. Wheras older, bigger cabs tend to be slightly scooped (e.g. Ampeg fridge). I think this is because the older valve amps actually have a lot of mid-range in them when driven, wheras the modern transistor amps don't so much. The BFB cabs are far more flat and even in response than most, so depending on what you're used to, it might take some adjusting. I think the Streamliers are aiming for that classic valve sound but are designed to be paired with modern cabs that have a bit of a low-mid hump, so you may find reducing the very low bass but boosting a bit of the lower midrange will get the sound you're after...

[quote name='mart' timestamp='1357149779' post='1918241'] I would have though that's a matter of taste; you could wire it that way, or the way the OP has done. I think I'd find a backwards volume control pretty confusing personally. Of course, if the pot is log/log, then it will work best wired one way round and not the other. [/quote] Yep, you're right, i missed the concentric pot bit, i thought this was a blend control (single shaft). Yes wiring one the opposite way around in that case would be rubbish. Ignore me, I'll get my coat!

I used to make all my basses active, then i sorted myself a decent amp and speaker and they have all been on flat since then. The one big disadvantage of active systems is when the battery goes dead. On some systems this also means the bass goes dead too. Most pre-amps will colour the sound a little even on flat, and do not fall into the trap of thinking you will get a higher output from an active bass than a passive bass, I used to think this and I thought that even on flat I was driving the front end of my amp more for a growly sound. Then I plugged a passive Precision into my amp one day and had to turn everything down. Don't overthink this but do think about why you are adding a pre-amp. Whilst there are advantages to be had, there are also pitfalls, so make sure its worth the hassle.

Yes it would be possible, but if you won't use it I wouldn't bother. Its just one more control to go wrong and confuse you at a gig when your bass goes quiet... You could put a studio switch in there. i.e. a switch connected to nothing for those moments when someone says "Its not quite sounding right" SWITCH "ows that?" "oh yes much better" Or you could put an LED to show you when the battery is running out, although that would drain the battery quicker.

He's saying compare the two, the fretted 12th fret note and the 12th fret harmonic should be the same pitch. If they are not, then the intonation is out. Some do this at the 17th fret too - usually the people that regularly frequent the dusty end of the fretboard

[quote name='jaybyname' timestamp='1357144451' post='1918080'] My apologies, I actually ,mean the power from the preamp. It has an 18v Active Preamp. During the hours of dismantling, I discovered the lives, the earths, the negatives etc. Ill have another look tonight when I get in [/quote] The preamp should not come into it at all. LIVE in my explanation above should go to the input of the preamp, or the master volume control - or straight to the output jack if you are bypassing the other two. If you have a volume control for each pickup this should go before the blend control. The Preamp should be last in the chain before the output socket.

I think from what I can gather you have to reverse one of them. It is basically two volume controls stacked on top of each other, so for a blend control, you'll want one to work in reverse. i.e. when you are turning the neck PU volume up, you should be turning the Bridge PU vol down at the same time (and vice versa). So you need to wire one of the rows of 3 tabs back to front (swap the earth and live over on your diagram). Usually it would be the Bridge pickup wired opposite to a normal vol control so as you turn the knob up (towards the neck) the bridge pickup will turn down. Neck stack: LIVE : PU-Hot : Earth Bridge stack: Earth : PU-Hot : LIVE

I imagine you've contacted Aria already?