thinman

How about trying to form your own band? Not easy I know but you may be able to attract like-minded people.

I've got a MAG300 head as a spare. It goes pop/thump a second or two after being switched off. Seems to be normal behaviour in these?

Ideally I'd like a much better PA too but a budget is a budget and buying second hand can be difficult. For my two-pence worth try having a look at db Technologies - they're owned by RCF and have a reasonable reputation. I've got a pair of the Opera 405s that have had a lot of use and abuse over the years. The other budget line to look at is Studiospares' "Fortissimo" range. I've got one of their 12" actives that I use for monitoring. Spares support is good too - Studiospares stock the bass drivers, horns and amp modules. For vocal use I've read comments that 10" or 12" drivers tend to have better mid-range response and are better for vocals.

[quote name='Monckyman' timestamp='1356878162' post='1914593'] As above,the tops you have won't support a full band mix at the volume you'll need in most venues. If you add at least one sub, and better two,then it's a different story, as most of the lower frequency stuff that makes up the kik drum and bass will no longer go to the tops. This is the way I do it, with everything through the P.A and small ish backline (I use an svt410 but I have a large van,for small gigs I get by with an Ashdown mini 48 and an Ampeg PF500). It's a compromise really, as you have to carry the subs, but In my opinion a full mix leads to a much better sound in general and helps to keep that backline at reasonable levels. I reckon you could easily get away with a half decent 150watt combo so long as you don't load the tone with too much low end and push the mids a little for cut. Remember your tone out in the front will be EQd differently to suit the rig and room. Also,if you have the kick drum in the rig, you'll need that sub anyway. MM [/quote] I'd agree with all this - one point especially on subs (but with all speaker designs to some degree) is that Hoffman's Iron Law applies: In a design you can have any two of good low frequency response, efficiency and small size but never all three. In short, if you get physically small subs then they are likely to need a lot more amplifier power to achieve the required output than one designed around a much bigger enclosure. The T39s I have are both 39" high and 20" * 16" in section - they do fill up the car but they don't need shed loads of power to get decent levels from them. Another point is that it's good to get your guitarist(s) to keep the volume on their amp low but mic them and use the PA to distribute the sound - otherwise the guitar can "beam" into the audience meaning it's very loud for some and not loud enough for others. Guitars can also add greatly to the "noise" on stage. Use of a compressor on the bass and bass drum signals going into the PA also helps. If any in your band are handy with the woodwork have a look at www.billfitzmaurice.com - it's interesting stuff. I can't claim to be a great expert on the whole thing but have a had a bit of hard experience running the PA for our band if you have any more questions.

[quote name='keeptrying' timestamp='1356812484' post='1913970'] Cheers Thinman, yes there will be some drum mics involved, I suppose what I'm really trying to find out is what can be done with the gear that is to hand. The pa will be travelling in my car so there's also the space consideration. I don't have loads of money to spend on a big amp, would adding a sub woofer to the pa give it the boost it needs? [/quote] Yes - a sub (or subs) will help - but they are bulky and you'd either need active units with built-in amps and crossovers (Mackie probably do one that matches your existing tops ) or separate amps, crossovers plus the subs themselves - not sure that would cost you any less or keep down the kit that has to be carried. The usual progression (which is more-or-less the story of my band's PA) is to have your own amp for your own monitoring (and tone creation) that can stand up to a drum kit. For small or not so loud occasions an acoustic drum kit and reasonable bass amp will do. Quite quickly beyond that you need a bit more bass drum oomph so that has to go through the PA. Our original PA was two dB Technologies Opera 405s - two-way active 15s plus a horn, 300w each. These could take a bit of bass drum but it didn't take much to push them such that the self-limit light came on, i.e. they were at max. I then built a pair of BFM T39 subs and got the required power amp and crossovers such that they would take on the low bass duty thus freeing up a lot of power from the Operas. It's a funny mix but works quite well and can be scaled from no subs, one sub or two subs as required. With both subs that PA can adequate for the average village hall but no bigger being only about 1.3kW but quite efficient. The downsize is that the subs are very big and the whole PA plus my bass rig is two hatchback cars-full. However, in most cases I still use my own bass rig for more than just my own monitoring - which is not idea as in some cases it could be fighting the PA due to the distance between my bass amps and the subs plus things can get quite loud on stage. The PA tends to have the drums through it plus a bit of my bass too. The other alternative, as suggested, is that you run a bigger (more powerful) PA all the time but spend the money and get one more compact than mine that you can use for all occasions and use a small bass amp or monitor for your own monitoring. This might be more future-proof but won't be cheap to put together. The third alternative is to get a reasonable bass rig for yourself but hire-in a bigger PA when you need it. However, that's not that cheap done too often!

[quote name='keeptrying' timestamp='1356809689' post='1913930'] Thanks all, I just thought that since the singer is going through the pa then I can save on buying a big bass rig. The pa is a pair of Mackie thump 15a's which go quite loud. The idea behind using a combo was so it could be used at rehearsals and home. Could I get away with using a 60watt combo? and can I go straight to the mixing desk from the xlr out in the aforementioned combo or would I need a di box? Sorry if my questions are stupid but I'm a drummer who's trying to play bass. [/quote] I'd guess that that PA wouldn't have enough grunt for a decent bass sound at any appreciable volume - may be OK for quieter gigs - depends on your style, the venue etc and what else you're putting through the Mackies, If you have bass drum too they would very quickly run out of steam. A 60w combo aimed at your ears may be OK for monitoring providing you don't expect too much output and low-end. So my view is that it depends on what you're trying to do but what you have wouldn't be adequate for a loudish band in a venue for 100 or more.

[quote name='Roland Rock' timestamp='1356810249' post='1913933'] A modified Jazz [url="http://www.talkbass.com/forum/f28/move-bassists-bass-sound-329527/"]http://www.talkbass....s-sound-329527/[/url] [/quote] Thanks for such a quick response. That's some mod to a Jazz! Great link - so it was Roy Wood's bass. Interesting concept the way the pickups are sited to possibly give deep lows and twangy highs. I would never have guessed it was originally a Jazz looking at the pickups and controls.

Does anyone know what bass it is in this Christmas classic? [url="http://www.youtube.com/watch?v=ZoxQ4Ul_DME"]http://www.youtube.com/watch?v=ZoxQ4Ul_DME[/url]

[quote name='kennyrodg' timestamp='1356229625' post='1908253'] Thanks for the suggestions guys. Cabs, For smaller gigs I've settled on a BFM Omni 2x10 with an Omni 10.5 1x10 stacked. For the bigger gigs, weddings and functions etc I'm using a Laney NX810 (sealed). NB, this is not for massive volume, just articulation and punch. I also need a tall set up as I really struggle to hear cabs that are less than a meter high. Budget is approx £650 tops give or take. Cheers. [/quote] As someone who uses 2 * BFM Omni 10.5s I'd question a 500W head being a necessity - as you must know they're very efficient cabs and I'd wonder at how much power you actually use. I currently drive mine with an EBS Reidmar rated at 250W into 4 ohms and have never felt underpowered in any way. You may find it easier to try for heads that you like rather than aim for a specific output - especially with those cabs - it may open up your choices considerably.

[quote name='brensabre79' timestamp='1355332226' post='1897089'] Some basses have a 'dummy coil' fitted, to reduce hum and interference. Its basically another pickup wired in series with the first but out of phase. It is possible, of course, but the reason not every bass has it is the same reason the Stratocaster guitars don't - the sound. Humbucking pickups by their nature also reduce some of the treble of the sound, so you get a more mellow, thicker tone. Not everyone wants this and many prefer the single coil sound as it can cut through a mix with much better attack. Even Musicman have switching options and single coil pickup configurations these days. If you're experienceing extreme interference you could try checking and/or improving the screening of your bass. coating the pickup cavities with conductive paint, or copper tape and connecting to earth can get rid of huge amounts of hum and interference. The Precision bass pickup is actually wired as a humbucker already so am I right to assume the issue is with your Jazz bass? If so shielding will definitely help alot. I have Wizards on my main Jazz (and an S-1) and covering the pickup and control covities in conductive tape made a huge difference. If you really want humbuckers, you can get stacked humbuckers that fit in a Jazz bass pickup shape. DiMarzio do a few, as do other makes. [/quote] It was more of an idle thought - I too have Wizards (84s) and an S1 on my Jazz - hum's not a problem in standard Jazz configuration with both pickups up full. I'm thinking of getting a Sterling and was reading about the hum cancellation coils fitted to their pick-ups and wondered why they're not used more often - probably for the reasons you explain.

Does anyone know of retrofitable hum cancellation coils? The hum problems of single coil pickups are well known so why don't most now incorporate a hum cancellation coil like stingray pickups (and just about every microphone) does? It made me wonder if someone has ever made coils that could be fitted to existing single coil pickups?

[quote name='BigRedX' timestamp='1354372512' post='1885295'] [url="http://www.epiphone.com/History.aspx#Epi"]Epiphone[/url] [/quote] Ah - that's good - not only do I now know but I may also have won a bet.

Trivial question... Is Epiphone pronounced as Epi (as in slang for a fit) plus phone (as in telephone) or is it like Epiphony as in a sudden realisation? Just curious.

If you have a good old-fashioned hardware shop round your way, could you take in one of the other screws and get them to work out what size and type of thread it is (by trying different nuts on it)? It's probably a standard thread, maybe metric or UNF, so you may be able to at least get something that will do the job until you can track down an exact replacement.

[quote name='Count Bassy' timestamp='1352721334' post='1866433'] And if fitting them yourself make sure that you use the copper ferrule that is supplied with the plug. [/quote] These were fairly new Neutriks - they certainly didn't come with ferrules.

[quote name='Walker' timestamp='1352363310' post='1862079'] [b]Update - the EQ and left panning worked a treat - thanks all![/b] [b]But...[/b] For the time being, until we get a new poweramp, we've been running the L+R desk outputs (+4db) into 7 and 8 on the little Yammy mixer/amp pictured below. Everything is set flat and all verb and compression is off. We set the channel level on this little amp to 3 oclock and the master to max and control FOH volume with the master slider on the desk. If I inputted the desk into channel 3 or 4 on the amp instead (via the XLR out of the EQ), do I set the input switch to line level or mic level? We tried both last night and mic gave loads more volume (the mic pre's boosting the signal I assume) but would this blow something as it's a +4db signal going into it? [/quote] If you look at your MG166CX you have a gain control on the channels with an XLR to let you set the channel gain to match a mic or line signal. It seems on your picture there's a line/mic switch that does the same but with predetermined line and mic gains. The output from your eq is most likely line level so I'd have the line level selected. You're not likely to blow anything directly but there's a good chance you'll overload the channel input giving you some distortion. You're probably having to keep the master volume very low as a consequence.

[quote name='bertbass' timestamp='1352197684' post='1859851'] Have a look here, [url="http://www.billfitzmaurice.com/."]http://www.billfitzmaurice.com/.[/url] Might surprise you. [/quote] +1 for Bill - I built a pair of T39 subs. Very efficient horn design - no need for shed loads of power to drive them - downside is that they're quite big. Bill has done all the design graft for you and lots of people are using them. He tends to use Eminence for his designs (he's US-based so probably cheaper over there) and does not advise you changing drivers models unless you can find a very close match on the specs as they are cabinet specific..

[quote name='razze06' timestamp='1352131323' post='1859118'] The soundspares stuff looks very interesting, shame about the poor design of the website Would you recommend mid-hi tops and a sub, or a sub with a crossover and full range tops? [/quote] The active speakers we've been discussing here are supposedly full range but you won't get high levels of output from them when used that way. If you couple them with a sub via a crossover you will achieve higher outputs but it's a bit of a compromise solution (but it can work fairly well). You then have the option of using the system without subs in small venues as I do (though your electronic drum kit might predicate always using subs to get a good kick).. There are packaged systems out there. e.g. HK ones that consist of a small pair mid/hi tops and a sub. I've not known a full band use that sort of thing - probably more a karaoke solution. As has been mentioned above you may be able to pick up better brands second hand. RCF are certainly well rated in the active bracket. Another option is what I did and having built my bass cabs to a Bill Fitzmaurice design I then built a pair of T39 subs. They sound great and are very efficient needing only a smallish power amp to drive them. The down-size is their size - the 39 refers to their height in inches! Bill does a wide variety of PA cabs that can be run standalone or with subs.

[quote name='Walker' timestamp='1351686788' post='1854117'] I hope someone can help with this! Our band is mono. We have a Yamaha MG166CX desk and I'm after a DBX 2 channel 31 band EQ. I have a couple of questions: 1. Can I use one side of the EQ to shape the room and the other side of the EQ to help ring out the monitors? 2. Would I then just come out of my main out just using one of the outputs (and panning everything on the desk to one side?) 3. I've attached a picture of the output section of the desk - how would you connect the equaliser for the monitors and main out, considering the monitor mix will be on an aux? We'll eventually get another EQ just to keep the monitors in check, but for the time being I need to try and work with one EQ. Thanks very much for your help - I'm slowly getting to grips with all this stuff! Cheers Chris [/quote] We do exactly what you suggest - same mixer too. Every channel panned hard left (you don't get the full output otherwise) and we only use the left channel into one side of the graphic for front-of house. We then use the Aux 1 output for a monitor mix - that goes into to the other side of the graphic. In practice the monitors need 3 or more bands cutting quite severely but I think that's because our monitors are a bit rubbish and probably fairly peaky in places plus there's always a near rear wall reflecting stuff into the front of the mics. In our case we don't find the front of house needs much attention for dealing with feedback - it's run fairly flat - but you may want to try and correct room problems if you have the luxury of setup time.

Sennheiser 835? I'v got 3 and they seem pretty good for the money. Beware buying off eBay - lots of Shure and Sennheiser fakes. However, there are a couple of contradictory views. If like me, you play in small places then feedback from reflections etc can be a problem. We have a 31 band graphic that we use to "ring out" the monitors. If you have a a variety of mics then you can introduce more peaks in the response that you have to deal with to avoid feedback at those frequencies so one school of thought is to use the same mics for every vocalist. The other school of thought is that some mics work better than others with individual's voices. Someone is bound to recommend the Shure SM58. Wouldn't disagree but there's another school of thought that better mics for the money have come on to the market in the meantime.

[quote name='Wiggybass' timestamp='1351789932' post='1855475'] There is also the issue that Speakons use solderless connections, unlike jacks, so they can be fitted and removed (and possibly repaired) on site with simple tools or a Leatherman. [/quote] Agree - I prefer speakons but it's worth periodically opening them and checking that the screws remain tight - I've had some of mine loosen up as the conductors relax away from the screw with time and vibration.