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About paulbuzz

  • Birthday 01/12/1964

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  1. I took a different message from the article Bill, which I found interesting rather than reactionary. I felt that the author's main gripe was that following the widespread availability and installation of super-powerful subs in mainstream venues, the freshly-discovered option of creating very low frequencies at very high levels has encouraged sound-people to do just that, regardless of whether it's appropriate or not. This applied strongly to the author's acoustic duo, but I would say that it is also very much in line with my experience of the sound at rock music shows over the last several years, a number of which have been ruined for me by massive sub-bass levels swamping the rest of the music. This seems very annoying and completely unjustifiable to me, but I hope that I'm discerning rather than reactionary!
  2. Fair enough, although I'd be surprised if your RCF745 can bang out the same volume levels as your EBS 4x10! (I could be wrong though - I haven't tried an RCF745!)
  3. Dunno how old you are Al, but speaking from my own position of rapidly advancing decrepitude, hearing anything above 15 kHz is just a distant memory! 🤪
  4. For me, the most convincing argument in favour of using a FRFR speaker (either active or passive) is that it makes it much easier to be sure that you're sending the right signal to the PA soundman. If your speaker has a pretty flat response, like (hopefully!) the PA system, then you can just tap off a DI signal to send to the PA, and know that that tone, amplified through the PA, should pretty much match the sound coming out of your on-stage gear. If not (ie your bass speaker is significantly coloured, like most speakers used for bass rigs), then you will previously have adjusted your amp EQ etc to sound good through your rig's speaker, compensating for its idiosyncracies. So how are you going to get the right signal to the PA? If you take a DI signal before your speaker, then it won't include whatever colouration your speaker is bringing to the party. If, for example, you have a tweeter-free cab and are using any overdrive/distortion effects, this is likely to sound dreadful when DI'd into the PA. So perhaps you'll mike the cab? Even if the soundman is willing (and they're often not keen...) he will need to take account of the huge bass boost caused by the proximity effect of the mic jammed up against your cab. Is the soundman on top of this? And, oh, does your bass cab have a tweeter? Perhaps even a separate mid-range driver?! Mike them up separately, you say? Good luck with that! A disadvantage of the FRFR approach is that a speaker that can produce high quality, clean, full range sound at volume levels equivalent to a traditional bass rig is a probably a much more expensive item than a decent traditional bass speaker. For this reason, amongst others, I have always stuck to the traditional route of using a normal kinda bass rig, sending a DI signal off to the PA, crossing my fingers and hoping/trusting that the soundman is sufficiently on top of the task to make something useful out of it! If you've applied a bit of sense to it this approach usually works out ok - after all, it's what pretty much everybody always did until recently...
  5. Thanks for that Bill; it's getting weirder and weirder - we've moved on from American Football metaphors to dog fighting metaphors! I had a much better idea what was going on when we were just talking about speakers... 😜
  6. Since I don't understand a single word of this, I don't have the faintest idea whether this is a wildly off-topic digression or part of an extended metaphor being deployed in an argument about driver sizes... 😁
  7. I used to use this kind of a setup many years ago when I was young/strong/foolish enough to want to carry it around. It sounded great, so I fully endorse and encourage your plan! My setup used a Trace Elliot GP11 Mk4 Preamp as its front end, which had a built-in crossover with outputs which split the signal at 250 Hz. The high end went to a Marshall valve head driving a 2x10", and the low end went to a solid-state power amp driving two 1x15"s. The Trace preamp was a brilliant piece of gear - great sounding and ultra-reliable. They come up for sale fairly frequently and really cheap. Alternatively there are HPF pedals available such as this one from Broughton, who seem to be well-regarded: https://www.broughtonaudio.com/product-page/high-pass-filter But I think you can feel free to have a go at just cutting out the bass from the high-end side using the tone controls on the amp. Your ears will tell you if the cab is struggling. Good luck with your rig experiments - it's sure to be lots of fun!
  8. If you're doing gigs with a PA that just has active 10" speakers and feel that the kick drum and bass guitar could do with a bit of a lift, I'd say that was an ideal set up to which to add one or two active subs. (I wouldn't even consider putting kick drum or bass into a PA that's just a pair of 10"s.) Were you intending to mic up any of the rest of the kit? If you think it's just the kick that's getting a bit lost, in my opinion it would be fine to add a bit of reinforcement to the kick drum only, but others would argue that if you're going to mic the kick, you really ought to add overhead and snare mics too as a minimum. At this point though, you're starting to add quite a bit of extra gear and complexity to your setup and soundcheck. There are loads of models of subs that are intended for exactly your kind of setup, at widely varying price points. I'll leave the recommendation of specific models to those that are more familiar with the currently available models...
  9. Agree absolutely. Your anecdote about Greg Lake's bass sound is distressingly familiar. I don't know what's wrong with the people responsible for these mixes. It's as if they've somehow become persuaded that the spectral balance of electronic dance music is appropriate for all other forms of music too. Or is it just complying with what they think people expect from the sound at live gigs these days? Either way, it seems to have become a very common aesthetic for live sound mixes, with hugely detrimental effects on the entire mix, and the bass guitar in particular. Apologies to Al if I'm getting a bit off-topic here.
  10. I think that in most cases the kick drum is the primary factor in determining whether your PA needs a sub or not. - Is the band attempting to perform at a volume at which the kick drum, unmiked, would be too quiet? YES: The PA needs a sub, and both the kick drum and the bass guitar should be in the PA's FOH mix. Hence no point in a bass backline sub. NO: The PA doesn't need a sub (and neither does the bass backline). I'm not up-to-date enough with currently available PA gear to have any meaningful opinion on which are the best value subs at various price/performance points.
  11. Most bass backline equipment is pretty poor at reproducing the lowest frequencies, certainly at higher sound levels, so I think it's perfectly reasonable to wonder, as Al is doing, whether incorporating a subwoofer into your backline might be a good idea. The way I've always viewed it, though, is that if you're in a situation where you feel the bass guitar needs some subwoofer support, then it's almost certainly true that the kick drum does too. At this point it becomes a PA issue rather than a backline issue - ie your PA system needs a subwoofer, and if it's got one, then there's no benefit in also adding one to your backline. Also, as Bill points out, excess sub-bass frequencies are frequently a huge problem in contemporary live sound mixes. WWWWWWOOOOOOOOOOOOOOOOOOOOOOMMMMM! 😡
  12. If you haven't already, I should think you almost certainly need to remove their nuts from the sides of the case...
  13. You didn't mention the input/output sockets, but I imagine they're probably fixed to the board and attaching it to the case too...?
  14. Great price and a great match for this head on sale here: https://www.basschat.co.uk/topic/334568-fs-marshall-vba400-valve-head-400-watts/ Fantastic rig for somebody with a lot of space and muscles! ;) Good luck with the sale!
  15. Another suggestion: the TC Rush Booster from their 'Smorgasbord of Tone' range. I really like the form factor of these pedals: since all the sockets are on the far end, they actually take up about the same width on your pedalboard as the usual 'mini' pedals (with right-angled jacks sticking out of each side), but are more stable because the box itself is wider. The Rush Booster is very simple: a single 'boost' control with up to 20dB of clean boost. Also very cheap: currently about £29 at all the usual big online shops. I haven't got one, but online reviews seem to be good. If what you want is purely a clean boost, there's perhaps less subjective judgement required than is the case with most other types of pedal?
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