Chienmortbb

It is not about the conductivity, it is about the shielding effect.

i would like to hear one as it is technically all wrong. Also nowhere to put your head (or your amp).

Just about to oredr so your story is welcome.

Funny but I find the look of Fender amps in General look a bit naff except for the tweeds.

Probably the best option.

Before you do any thing, check the neck with the neck bolts loosened. Then see whether there is enough play to realign the neck. I had the same problem and had enough play to get the strings aligned.

True but I like driving the cable from an opamp directly. However yours is a good way. I may have a spare Bourns 250K Mn if it is useful.

Two points. Aluminium tape is better for screening but it cannot be soldered. Secondly even if the adhesive on the tape is said to be conductive, it is wise to solder the joins.

Yes I have one of those and a Bassamp,100. They are approaching 47 and 48 respectively.

Setting intonation at the 12th fret allows for very basic tuners. Nowadays tuners are more sophisticated but if still makes sense the inonate at 12. It is half way between the bridge and nut and assuming all the fret slots are cut accurately, setting intonation at fret 12 will be good up and down the fingerboard. What you are trying to do is make sure the length of string from Nut to fret 12 is the same length as fret 12 to bridge.

You will need to have a buffer for each pickup and then a mixer stage. That requires either two small or one large opamp packages.

I have two HH 100Watt bass heads that were made in the early 70s. They were extremely well designed, rated at 80 watts in to 8ohms and 120 into 4 ohms. They were built like brick shitehouses. The electroluminescent panels were a sight to behold, especially in the dark. iThe wiring was beautifully laced. Being solid state they did have PCBs but they really were engineered. Bloody heavy by today’s standpoint but still louder than most so called 200 watt amps today. Integtrated circuits of the time were much noisier than those of today and one day I will change the 741 for something a little quieter. The only problem today is they are Soooo wide. Over 2ft or 600mm so so they overhang every cabinet.

The only valve amp I have lusted after since my Sound City 100W was stolen in 1973. Of course I was a guitard then.

You are always mono out front. The sweet spot for stereo is so small it may as well not exist. In fact to get the best from a PA it is arguable that all the drivers should be at the same place rather than at each side like a home stereo.

Hard to tell about the Chinese and fakes. I did ask Icepower and they say there are fakes out there. However if you buy in quantity from IcePower, you could just about sell at the prices advertised on EBay but your margins would be small. The Profusion prices do seem excessive AND they will only sell IcePower to registered companies. I know that Ghent Audio, the Chinese’s maker of cable looms for icepower modules, also sells complete amps and has, on occasion, sold excess modules. Of course it may be the case that some ICEPower modules slip out the back door of some far eastern factory without ICEPower’s knowledge. Profusion do not even list the price of the 700AS1 module as it is more restricted than the ASX range. However it is a fine module and has been used by a number of manufactures. It is also on my good friend passinwind’s home brew Bass amp. As for the over temp indication, that is easy. I don’t envisage a problem with heat as the inside of the cabinet is a large volume and the size of the port should allow some airflow with the outside world. Although the driver will dissipate heat, I expect that under normal conditions the cabinet will not get too hot. If it does then a sealed plate amp type design would be needed.

There are some that say run it in and others that say just go for it. Stevie and Phil Starr may have more to say but I would not worry about it. Just use it it will run in by itself.

Normal PP3 batteries are nominally 9v although almosy no manufacturere publishes battery capacity. The Duracell Bunny test is the closest. It would be greta to use rechargeables but most are nominally 8.4V. There are now 9.6V recharcheables and I am thinking of trying some. Has anyone tried them? https://www.componentshop.co.uk/9-6v-220mah-nimh-pp3-battery.html or https://www.amazon.co.uk/Self-Discharge-Precharged-Rechargeable-Batteries-MHR9VP/dp/B01FV0U5WG/ref=sr_1_9?keywords=9.6V+PP3%23&qid=1560604944&s=gateway&sr=8-9

To be fair I play pubs and clubs, a real weekend warrior BUT I was product manager for Panasonic/RAMSA some years ago so I have a little knowledge (dangerous thing). I also had a 100W Sound City stack as a youth with 2 4x12s. I do not suffer from tinnutis despite 1000s of gigs and being 67. I don't agree with everything Joe Bonnamassa says in this artical but there is a grain of truth in what he says. Remember that your instrument is not just your guitar/bass, it is the whole signal chain: Bass Instrument Cable Amp Cable Speaker Room Listeners ears. Change any one and your sound changes. In my experience (YMMV) In-Ears give a rather unnatural sound. They tap into the sound at the cab I feel like I am in an isolation booth, I don't enjoy it and as I play music for enjoyment, they are self defeating for me. Amplifiers, especially guitar amps need to be pushed hard to get the sound, so get the right sized amp for the gig. For most pubs/clubs, 5-15 Watts is adequate .For bass, in general, the volume of the amp/cab does not contribute so much to the sound so again, in my opinio,n the power of the amps is not so relevant. Volume does not affect the sound of the bass anywhere near as much as it does the guitar. For the same pubs/clubs, FOH support is not needed and volume can, and should be, controlled. My band get more compliments when we play quieter. The best band I have ever seen in a pub are Chicago 9. Even the Harp player had his own amp and the PA? A tiny Peavey system, used only for the vocals. In-Ears have their place as does the Soundman or Woman (please don't call them engineers) but for most semi- pro bands the most important members of the band are volume controls. Finally one more issue with In-ears. The size of the driver compared to the volume of your ear canal is massive. There is great danger of ear damage if the volume it too high for too long. Smartphone makers don't put volume limiters on the headphone output for nothing. Volume controls go down as well as up and that is what will protect your ears from over-loud transducers of any size.

The last band i saw using in-ears spent 30 mins seting the monitor mix and none setting the FOH mix. Result was cachophony.

Firstly you cannot ban someone from selling a Gibson as a Gibson, a Fender as a Fender or a Rickenbacker as a Rickenbacker. However of course if Gibson has any kind of IPR on its designs, they are within their rights to protect them. Gibson's problem is that the quality has dropped so badly that some of the so called clones.Tokai for example, make better Gibsons that Gibson. Of course the Epiphone range muddies that water if you don't know that Epiphone is Gibson's "Squier". So before they go after all and sundry, they should invest to ensure that a Gibson Les Paul is better than a Tokai or even Harley Benton. Then they can rightly go after the Jibsons and the Chibsons and boutique clones.

Looking forward to this one.

I decided to go fretless as so many of the frets were lose. Most are already out. Thanks for the info on the white plastic.

I have a kit bass and have decided it should be fretless. What is the best way to fill the fret slots. I was going to use some maple veneer but would appreciate advice on what thickness and whether to have the grain end on or sideways. I hope this makes sense.

Bill is correct that there is little energy bill 40 Hz but with most cabinets which are tuned to give high-efficiency in the passband, the efficiency below 40Hz is high and gets higher as frequency decreases in a bass reflex cabinet. That is why Phil Starr suggests a High Pass Filter in the signal chain. Chuffing may cause some compression and purists would be alarmed at that. My cab has the single large port that Stevie specified but I played through Phil’s rig at a gig on Friday and I heard nothing untoward.

Despite the radio silence, things are progressing. The power module for the prototype will be the 125ASX2 from ICEpower. Why? Because I have one. It is capable of about 270 watts into 8R and that meets the original requirement of the 1x12 cab, keeping up with a heavy handed drummer. It can also output close to 500W into 4R. If two cabs are used the acoustic output will be enough to fill almost anywhere. I will admit that the AS700 module would be my choice but they are much harder to get (unless enough people are interested). I am up to my ears in other things at the moment but I now have most of the components to start on the prototype. Watch this space.