Chienmortbb

Anyone played with the compressors and if so what did you like?

This plus if you want to drill all the way through, clamp a piece of sacrificial wood to the top and bottom. This will protect both the finish at the top and tear out at the bottom. Oh and before you do it, line up the machine heads on the headstock to make sure they look right. Sometimes the shaft lengths on replacement are different, on my Aerodyne I fitted Gotoh Re-O-Lite clover heads and the shaft lengths are a tad long ( to be honest I did not do enough research as they did a drop in replacement for the Femder ones). The extra length does not bother me but it might bother some people. I also nearly came a cropper on my Sire when I replaced the stock machine heads with Hipshots.

Good to know but I will have to check that.

I never did that bit of the.course. They wanted 200 Groats so I gnawed on a wild boar bone, thought about it , and reported them to the Sheriff of Nottingham as Tax Avoiders.

Yes, pedant alert, there are phase shifts in analogue mixers and that is effectively a delay. As a designer of digital circuits in a former life, what we call latency in the Audio world is called propagation delay in the digital world. However, you are correct that the problem IS in the digital world. We have to be careful with some delay is useful when added as an effect, but only when compared to the dry signal. Latency is not really much of an issue for bass, IMHO, especially for those of us that stay clear of the dusty end and do not have lots of digits in the chain. For what it's worth, I use a Smoothound and the Latency has not been a problem. However, I don't use any form of digital for monitoring. For a singer, especially a female singer, it could be catastrophic, especially for monitoring. With the problems of digital mixers, you might ask "why bother". MY Ui16 is the size of a stage box with the same number of in/outs. It has 12 mic line inputs, plus up to 6 AUX outputs. So I can mic or DI the whole 5-piece band, including drums. I have to say that I now wonder how much delay is in my Soundcraft Ui16 (reaches for his digital 'scope).

I know. The guitarist in my last band was a huge Rush fan, and we had to agree to differ. It is not genre-specific. I like what is loosely called Prog Rock. Of course, it also means anything endorsed by "The Great Man" is out of bounds for me. It may be irrational, but there you go. Maybe I should start a ban Jaco campaign and get banned from Basschat?😀

Yes, the BDI21 has a mid-suck if you have the Drive and blend knobs anywhere but fully anti-clockwise. The sweep below shows a 5-6dB suck centred on 700Hz will all controls at 12 o'clock. It is worth noting that you need to up the level; control to get to unity gain, that is, when the output is the same level as the input. If you do turn off the offending controls, with all the others at 12 o'clock, except Treble backed off to 10 o'clock, you get: A very nice flat DI with a built-in HPF. Of course, there is a modification to get the mids back, and I will be modding mine soon. I will report on that later.

Compression alone cannot remove harmonics or what the OP called overtones. In fact, as they are lower levels than the fundamental, they are more likely to be accentuated by compression.

The sound of Geddy Lee's bass, he might as well be using washing machines.

Why can you make this assumption?

As some have said, I bought most of Dave/OBBM's stock when he retired and have been making cables for folks on here ever since. Happy to quote for you. I will soon have a website running, but in the meantime just DM me.

Have you asked Ashdown about it?

To be fair, they are all @stevie's work. As I understand it, a few people were asked to test early versions, and @Phil Starrordered one early on. However, all the clever stuff was @stevie

With the hatch varnish, thin it fit the first couple of coats and it will penetrate the surface of the ply. That should make it tougher.

You would not fry it going to the States, but might if you forgot to change the voltage back on return.

Always look like someone built them in a garage with parts they had to hand.

Has anyone else noticed that many Parcel Services are struggling with the weight of business as a result of the RM strikes?

Sinatra, in my opinion, is very overrated, All the rat pack were better, So many others from that era were much better too.

Those DBS were serious amps, but Eden and others, were exotic being from the States. That is not to criticise Eden Amps in any way.

I was looking at about the same time as @Phil Starrfor me the need was for a mixer that could take everything that a five piece could throw at it, so 4 vocal Mics, two guitar and one bass amp, 5 drum mics plus at leats 4 AUX outputs. For me, that was the Soundcraft Ui16. In fact, I found out after I bought it that the headphone out could be re-arranged to be Aux 5 and 6. So I have 14 Mic/Line inputs and up to 6 Aux outputs. Each output has a 31/32 band graphic and each output has feedback suppression. If I had not needed the extra mic inputs, I might well have gone with the RCF M18. The real benefit of the Soundcraft however is that it does not need an App. Control is via a web browser. I had already had experience of a Behringer XR12 and was not too impressed. That being said, I have and have had various Behringer products in the past. Finally, the Wi-Fi router in ALL these small format mixers are very poor, and the Soundcraft is no exception. The XR12 was particularly bad, but the User groups on all are full of horror stories. You do need an external router. I also use a PC as the main control as it is a rock-solid wired Ethernet connection.

Marshall never really cracked the guitar amp maker amp tag, unlike say Mesa, In fact only Mesa that I can think of has a big foot in both camps.

It makes no sense for G4M to use Eden for its budget brand. I hope they do something good with it although I am not holding my breath. I remember some of those big Marshall bass amps of the past, when I was playing with two too many strings. They looked great. I wonder if Marsgall might be tempted to bring there own new range out.

You know there is a postal strike, don't you? Seriously though. I was quite happy with my BC112 MK3, but having tried the Silverstone, it was clearly a next step development. I am really fickle, and it was the looks that made me think about the change first. Then? Everything clicked.

It us a long time ago since I had a valve head but in my experience a few seconds or even minutes should not be a problem. The old adage comes to mind, if it ain’t broke, don’t fix it.