Chienmortbb

I think we do need a little more info before we start posting recommendations.

Thanks. I would not sell, but I want multichannel recording and there is a one in one out policy.

7 minutes ago, neepheid said:

 

I think you misunderstand - I'm talking about the difficulty in searching for "Vintage basses" - the adjective tends to dominate the proper noun in results.

Sorry!

On 18/01/2024 at 10:04, chris_b said:

The size of a speaker means nothing.

It is not the only parameter, but it is important. I will agree that it is not the most important part of the spec.

17 hours ago, neepheid said:

Ahh yes, Vintage - one of the worst brand names to search for in history

 

Both shorties?

I agree that the early ones were poor, but I have played one recently that was OK.

I Lied. I remember seeing one of these on a music shop wall and tried it. I have never played a bass with a worse setup. I was really disappointed. (this is not a joke)

On 21/01/2024 at 19:37, TheGreek said:

Don't be put off by negative comments by others who think that Fender should have stopped designing new basses after introducing the J bass

NO they are wrong, it was designs after the P that are wrong🤣

On 25/01/2024 at 19:53, uk_lefty said:

Me too. I really wanted to like these, my number 1 bass is a stingray, but I think there is something just not quite right. The Horn is too long, body too wide, pickguard too short and narrow, and that jazz pickup?!?!  Also, no lefties listed which is odd for Sire. The 24 fret jazz however is really drawing me in.

To be honest I feel the opposite, The 'Ray looks all wrong and the elongated top horn on the Sire will place the bass in a more playable position, and help with the balance. In my opinion the Stingray pickup is in an unusable position. However, if you consider the bass a percussion instrument, you may well disagree.

I am going as I might have outstayed my welcome here..

That once made me take an SB2 out of my basket, good news.

1 hour ago, MartinB said:

space age lightweight multi-laminate hybrid core"

I have heard of a balsa ply where the ply are arranged edgeways. Apparently very strong and light.

57 minutes ago, agedhorse said:

The video world moved way too fast for my comfort level, you could be qualified one year and completely unqualified to design new products the next year as the technology changed and the big player drove the market. It's hard to have a 40 year career in the video business as a designer/engineer IME based on friends of mine who followed this path.

Yes indeed. One of the reasons I retired/was made redundant.

The Ui16 is a 16 input mixer, of which 12 are mic/line. It is controlled either 

Inputs 1 and 2 can be set to HiZ to take a guitar or bass directly, and there are numerous Digitech effects built in.

Each input has Parametric or simple EQ, HPF, Compressor, Gate, Delay, Echo, Reverb, Room.

Both Main L/R outputs and the 4-6 Aux outputs has multi and graphic equalisers plus feedback suppression.

Features 4 Aux buses, they can be increased to 6 by losing the headphone facility. 
Control is via an any device that has a web browser. No special software or app is required. 

Soundcraft Say:

The Ui Series mixers feature cross-platform compatibility with iOS, Android, Windows, Mac OS, and Linux devices, and can use up to 10 control devices simultaneously. In addition, the Ui12 and Ui16 each feature built-in HARMAN signal processing from dbx, DigiTech and Lexicon, including dbx AFS2, DigiTech Amp Modelling, and more. Both models feature fully recallable and remote-controlled mic gain and phantom power, along with 4-band parametric EQ, high-pass filter, compressor, de-esser and noise gate on input channels.

31-band graphic EQ, noise gate and compressor on all outputs, plus real-time frequency analyser (RTA) on inputs and outputs. Built in are three dedicated Lexicon FX busses: Reverb, Delay and Chorus. In addition, mixer controls include Subgroups, Mute groups and View groups, among others. The Ui Series mixers feature full Show/Snapshot recallability with channel recall safes. while security lockout features allow customization of device access to only specific functions and mixes if needed. Both mixers also offer independent network interfaces on board for simultaneous control by Wi-Fi and Ethernet, plus a floor-ready rugged chassis for live applications.

The Ui16 boasts eight XLR combo mic/line inputs, four XLR mic inputs, two channels of Hi- Z/instrument inputs, as well as a stereo RCA line input. A 2-channel USB media player is included, along with four balanced XLR Aux outputs, two quarter-inch headphone outputs with level control, plus balanced stereo XLR and quarter-inch main outputs. Two-channel USB audio playback is compatible with MP3, WAV and AIFF formats, and 2-channel USB Record direct-to-memory devices functionality is possible as well.

Features

Tablet/PC/Smartphone Controlled Digital Mixer

Integrated Wi-Fi

Cross-platform compatibility with iOS, Android, Windows, Mac OS, and Linux devices

Use up to 10 control devices (tablets, phones, PCs) simultaneously

Legendary Harman Signal Processing from dbx®, Digitech®, and Lexicon®

Fully recallable and remote-controlled mic preamps

4-band Parametric EQ, High-Pass Filter, Compressor, De-esser and Noise Gate on input channels

31-band Graphic EQ, Noise Gate and Compressor on all outputs

Real-Time Frequency Analyser (RTA) on inputs and outputs

3 dedicated Lexicon® FX effects processors: Reverb, Delay and Chorus

Subgroups, Mute Groups, View Groups, and more mixer controls

Show/Snapshot recall with channel safes and security lockout

2-channel USB audio playback and recording

Password-protected Access limitation system

Sync ID (multiple browser windows staying in channel Sync)

6 minutes ago, SurroundedByManatees said:

while the amp itself is kinda hissy. It

Does it change if you change form FET to Tube (I thought Laney were a British Company)?

On 22/01/2024 at 22:46, TRBboy said:

very stingy smear of glue (if any) and 4-5 staples

Glue is best used sparingly, and the staples would keep the cabinet shape while the glue dries. The big problem with Trace was their insistence on using MDF for many cabs. Now MDF is second only to Concrete as a cabinet material, but they have similar issues,,, MASS. As heavy as funk for a given thickness.

1 hour ago, SurroundedByManatees said:

once the Tilt knob is favored to the treble side, it becomes more apparent

If there is noise, it will show when treble is raised.

@agedhorse Thank you for posting that snippet of the Standard. It is now close to 15 years since I retired, and with retirement I lost my access to the Standards Library at work. I should also confess that whilst Audio was the driver that led to my career in Electronics, I spent just about all my working life designing and testing Video products. While having the basic grounding, I don't have the earned experience that you have.

In case anyone wants to see the whole standard, it is 425 Swiss francs or approx £400.

3 hours ago, Phil Starr said:

Anyway I deliberately choose to run everything off a single socket. The theory is to have everything connected to the same earth point.

This was my reasoning too.

16 hours ago, sandy_r said:

So - possibility of overdriven speaker - 600W excess drive over rating - severe clipping - in most other universes, effectively a square wave

This is an area where a little knowledge is a dangerous thing, and I admit to being an enthusiastic amateur as far as loudspeakers are concerned. However, I was an Electronic Engineer by profession.

The speaker is being overdriven NOT the amp, that will still be outputting the same signal. The amp will clip if the input signal is too high, within limits the speaker will not affect. As the speaker exceeds Xmax, it will become non-linear as the coil is outside the influence of the magnet, and you will get compression. Push it too far, and you could destroy the speaker (XLim or XDamage) I used a 200 watt speaker from an 800 watt amp on Friday for two hours, without any problem. 

17 hours ago, sandy_r said:

a 100W True RMS amp, clipping badly,can apply up to 200W (True RMS) into its usual load

The term "True RMS" was coined for describing the readings of voltmeters and multimeters, as the early digital voltmeters could only measure RMS voltage for a single pure sine wave. Anything else would cause an incorrect reading. True RMS meters should read accurately, whatever the waveform.

True RMS is not a term I recognise in amplifier specifications. In fact, to be a pedant, there is no such thing as RMS power as RMS voltage x RMS current gives average power (although some in HIFI circles dispute this definition of average power). To understand why you have to know what the terms RMS means, not the literal Root Mean Squared but the practical use. The RMS voltage is that which causes the same rise in temperature, in a given resistance, as a given DC voltage. So put 120/240 volts DC across an electric fire element, and it will give out as much heat as if you put 120/240V volts (RMS) AC across it.

22 hours ago, Happy Jack said:

While I'm asleep, I dream about the gig. I was looking around as I played and noticed that - as with many Clubs I have played - it's very obvious that much of the decor has been cobbled together on the cheap, presumably by Members volunteering to help. In my dream I was fixated on this poor-quality work.

 

Wake up, get out of bed, down to the studio and plug the whole f***ing PA together but I know what's going to happen. Sure enough, everything works just fine.

 

I'll lay you odds of 100-1 that if you plugged a tester into the socket we used for the Stage Right sub it would have shown a fault ... seriously defective wiring at that point. It was the one thing we didn't isolate (well you don't, do you?) and - even more irritating - two of the four of us there actually had testers in our bags. 🙄

I have a long lead with several sockets at 1 metre intervals. I lay it across the back of the stage and everything, including the PA, is run from it. It is rated at 13 amps and that gives us a limit of just over 2900* watts, but we rarely use the big PA and even that is within limits. It avoids this type of problem.

*Calculated at 230V ac. In most places the UK voltage is still around, or above 240V ac. so clsoefr to 3100 watts.

On 19/01/2024 at 09:20, Fishfacefour said:

Could someone with the 500w head measure the distance between feet. Just checking it would fit on a BF one10 horizontally. 

Thanks! 

Would fit an LFSys Monza fine! I don't need a new head, but it would go nicely on my Monza.

Fill your boots. It's your thread and if people disagree they can look away. 

Interesting thread Phil. It begs the question whether the speaker per side setup that we all tend to use is ideal.

Would some venues be better with just one? As most venues are unsuitable for stereo, one well-placed, high spec speaker might be more than adequate. The power alleys and valleys at the low (sub) and could be improved by putting two speakers adjacent to each other in bigger venues.   As many know, I loathe the "tea chest bass/sub on a stick" systems that Bose made famous, as I have yet to hear one that sounds good (I have heard LD Systems, Bose, Yamaha but still to hear an RCF EVO system to be fair). However, they almost act as a point source, and that has benefits in terms of coverage and feedback reduction.

As for adding subs to a 10" speaker setup, I am starting to come to that conclusion myself. The RCF ART 712s that I auditioned recently could not handle any real low end and though not in the class of the ART 745/945 made a good job of everything above 100Hz. They would still need a sub to get a clean undistorted low end.

I bought a pair of Wharfedale Titan Active 12s from Phil a while back and in all honesty, they would do the same job as the 712 if crossed over to a sub in most situations. AS Vocal only, as they are currently in my band, they are more than adequate.

1 hour ago, dmccombe7 said:

They've been surprised how many folks are turning up at the Jan gigs as its normally a very quiet month for music venues.

We played on Friday 29th, not expecting a big turnout, and the place was packed. W next gig on Friday, but |I have been to other gigs that have also been busier than expected.

2 hours ago, joel406 said:

Nothing beats the Mesa Subway D-800+

Have you heard or played through every other amp?

7 hours ago, tauzero said:

 

Don't cross the streams.

 

As volume does change perception, perhaps make recordings with gain and volume set identically for each cab, and then import each recording into Audacity and use the Normalize function to get them all to the same volume. Then use both sets of recordings, with explanations, for listening tests.

That sounds like a plan.