Chienmortbb

That’s what my guitarist thinks I do.

I always had an aversion to short scale ( based. However I had a hernia operation on Sept 2nd and was told not to lift anything over 2.5 Kg for 6 weeks (5-6 Lbs for dinosaurs and US Citizens). My basses are all in the 4Kg area so @JohnDaBass offered a good price on his Fender Fullerton Ukulele bass, I did not get on with it so visited the Southern Ukulele Store in Bournemouth. I traded in the Fullerton for a Kala Solid Body. It was better than the Fullerton but still way below the fit and finish of even the cheapest long scale bass. Five weeks after the op and I am getting excited to play my Aerodyne when, Ouch, intense pain in my arm when I turned over in bed. Went back to sleep and felt OK when I woke. Thirty minutes after I got out of bed and my upper arm is aching, a further 15 minutes passed and from my neck to my wrist is in agony. The upstart is, after weeks of tests, I have a rotator cuff injury and can barely lift my left arm up abs to the side. Initially, even the U Bass was too much but I now have a little more movement and did a gig 8 days ago. Fast forward to yesterday and I put my 34” bass on and still cannot get all the way along the fingerboard. The real shock though was how far apart the frets are. So I am no longer dismissive of bases under 34”. The U Bass is fine below the 8th fret but IMHO too close together at the dusty end. So I a now considering 32” and 30” basses. Forgive me bassists for I knew not what I thought. 😢

What is that instrument that you are playing in that picture Daryl?

The concept behind the equal loudness curves has been known for some time. The one issue with them from my point of view. Who, or what, decides that a sound is twice as loud. How do you measure human hearing and decide that 10dB is twice as loud? Maybe I should look at Fletcher & Munson’s work to find the answer? Back to the point in question. I recently acquired a bass amp that I had been curious about for some time. Designed and built in the USA, it was an excellent piece of engineering, although the £1,000+ price tag new had always put me off before. It was a no frills amp, just the usual EQ plus a voicing control and a deep switch. In the conservatory, where I practice, the deep switch and the voicing control gave my some wonderful bass tones. I could not wait to try them at a gig. Five minutes into soundcheck and these were switched off, EQ set flat and off I went. With a little regret, I sold the amp in the Marketplace.

I think there are few a research groups better than the group at Southampton University.

I think he usually works in large auditoria where sub placement is generally in the middle. All the YouTube live sound influencers talk about splitting the room in two then placing each speaker in the centre of each side. That obviates the need to use too much toe in. You do need to be careful with the dispersion angles. I have some passive speakers with 60 x 60 and in many cases that would not be enough to cover the room.

This will be interesting but probably warrants a separate thread. Large diaphragm condenser mics are not usually used live though.

You have the Aerodyne Pickups? I have a pair ( of pickups) if you need them. Incidentally, I fitted DiMarzios into my Aeridyne as I wanted a humbucking J Bridge Pickup. I contacted DiMarzio Tech Suport about their wiring diagrams as they differed from received wisdom. For the first time, my tone pot did something. I have now reworked all my passive basses, even those that do not use DiMarzio pups.

As we now have an active PA subsection too, a PA section in the Marketplace would be good.

Welcome. Leave two strings at the door and find true fulfilment.

Possibly a slight tangent, but one of the things that is happening in pubs and clubs is that, because of cot of living concerns, footfall over the summer is way down. Prompting many to book semi-pro Karaoke singers. In this area they earn upwards of £125 per night. Easier to cover than the £250plus a band would charge. However, they are backed by the "empty orchestra", Karaoke means that in Japanese. From the venue and audience perspective, the "band" are always note perfect and well-balanced, as well as easy to control volume wise. The session musicians that make the backing tracks could be the first to feel the real heat here as AI could do a passable job of the backing track presumably.

Monza 1x10 has never lacked volume for me but the Monaco is more sensitive.

Truckload is made for rifle headstocks, Crimson do guitar finishing oils that are easy to apply and look great. https://www.crimsonguitars.com/collections/guitar-finishing

It is likely to be omnidirectional, so more prone to feedback. You can get cardioid headset mics https://www.audio-technica.com/en-gb/microphones/wired/best-for/presentation/pro8hex?_gl=1*1rbx919*_up*MQ..*_ga*MzA0NzkzNjQxLjE3NjE3NjA2ODY.*_ga_9B1Z5FDEW6*czE3NjIzNzA4MDgkbzIkZzEkdDE3NjIzNzA4OTQkajUzJGwwJGg4NTQ2NzE4Njg.

Look at the dispersion angle of the speakers and the distance apart. Generally straight ahead with a slight toe-in. Too much cross-fireing will increase reflections and cause dead spots at the side of the front.

Let's get some perspective, not every bassist needs a P Bass. However, if you only had one bass? P Bass. Why not a Jazz Bass? Body shape, more unstable on a stand and single coil pickups.

Over the years I have installed and removed many shims and the main advice I can give is to start small, as @Andyjr1515 says. I now use the matal shi,s from Warman https://www.warmanguitars.co.uk/product/set-of-4-brass-guitar-neck-shims-3-different-thicknesses-in-one-set/ Easy to fit and easy to change to a different thickness. The main thing to remember is that it takes several changes at each stage to get things just right.

Some people find the Tonehammer has a baked in sound that does not suit them.

It is a shame, I have often lusted after a G&L, but it never quite worked out. No doubt used prices will increase as they start to attain legendary status.

Yes the cabs I built were battenless so a very good point. However, the main point is that the glue is enough if you can keep it clamped supported long enough.

When I built my first basschat design, might even have been a prototype, I screwed and glued but if you are using Tuffcab, it does not stick well to metal or same fillers. The second cab I built screwed and glued but once the glue was dry, I removed the screws, drilled out the holes and filled with dowels. Once cut odd and sanded flat, the Tuffcab went on fine. Remember the glue is more than enough on its own, the screws just hold the panels in place while the glue dries. What glues to use? Nothing fancy. There is no difference between the strength of Titebond and any £1.99 glue from Lidl. Titebond and a few others offer faster initial drying. That is to the time that you may unclamp. However, almost all require 24 hours to full achieve fullstrength so why risk it.

I do expect to be corrected, but a distant memory says that there is only a small amp out of power available the USB being for communication rather than power.

If you use a huge rig, you will likely use either SMART or Open Sound Meter before the gig to set up your baseline sound d. This is effectively tuning to the venue. As working musicians we do not have that luxury but in my opinion you still have all your channels, EQ, Dynamics and effects set up in advance, tweaking slightly the main output for conditions at the venue. Of course if you set up in an empty venue you will need to tweak once full of mobile acoustic absorbers, (people) arrive en masse.

I did not really make my point very well. It was really that using mixed subs would not make a great deal of difference to the sound. I do agree that it is best to keep the low end from the tops, and even the high end from the subs is the best way of operating. There are those that evangelise the use of Aux Fed Subs exactly for that reason. Of course, there are others that say Aux Fed Subs are the work of the devil.

I think he was bowing to market pressure.