rmorris

Yeah - Blue leds have been flavour of the month for a few years now it seems. I have one on a mic and it is way too bright. I tried masking tape over it. Now have untidy looking microphone with a blue light that is still too bright !

btw - before somebody points it out - yes some mixing desk line stages do attenuate a line signal before feeding it to the same differential amp as the mic input. But that is something of a design compromise - it's cheaper of course.

[quote name='JoshOmachine' timestamp='1364810273' post='2031025'] Why would the DI be giving a line level? Also traditionally you should be attenuating at the source so that the mixing desk 'sees' a level that is as close to +4db (u/v/m). That way it can be processed by the desk/effects/outboard without the need for any further gain structures until the point it is sent to the sound reinforcement (loud speakers/amps etc) for the reasons you gave. Obviously gain structures do appear but the idea is to eliminate as many as possible. [/quote] Some level clarifications needed i think. Out of necessity these are generalisations but : A mic level is relatively tiny. The level from a passive bass / guitar is a fair bit higher than a mic signal but a fair bit less than professional audio line level (well established at +4dBu). Now if you have active gain available in the DI box then why would you choose to attenuate that to mic level just so you have to boost it back up with the mic preamp in the desk with the inevitable added noise. So you'd probably choose to either put it out at unity gain and lift it to line level in the desk input gain stage or boost it to 'proper line level' at +4dBu so that the desk can take it at unity gain. In general a you'd choose to get it to the 'correct' level as early as possible in the signal chain ie the DI box although it might depend on the detailed design of the DI and mixer input stage. As for 'attenuating at the source...+4dB' - that implies that you have a signal larger than +4dBu to start with ??? That's only likely to be the case if you are taking a speaker feed into the DI. [quote] dB(u/v/m) are all relative levels as they are all relative to ground hence partly the need for that 3rd ground wire. The reason the figure 20dB often used for attenuating pads is that it is 4 times less the perceived volume of the signal and that it is roughly half the voltage of the signal, which is the important bit for the desk. The only 'defined' dB rating commonly used is dBspl or decibels over sound pressure levels which is the calibrated measure used to denote a loud speakers sound reinforcement capabilities. Or for licensing venues/events an agreed volume at a certain distance. [/quote] No. A dB figure is a relative figure. But dBu and dBv (and for that matter dBV) figures define an absolute voltage level. 0dBu is defined as 0.775Vrms ( giving +4dBu = 1.23Vrms). and dBu levels are used everywhere when quoting analogue levels in audio equipment , especially pro audio mixing desks etc. dBm is actually a power level but is generally not applicable in modern audio systems although sometimes still seen quoted. All this has absolutely nothing to do with the '3rd ground wire'. It's simply a level measurement and is valid for all wiring configurations - balance / unbalanced / floating etc... 20dB isn't 'half the voltage' . That would be 6dB ( dB = 20log(V1/V2).

[quote name='icastle' timestamp='1364239305' post='2023715'] Now that's one that I have encountered in the past. Another one was those green LED calculators - go anywhere near an amp with one of those and all hell lets loose. [/quote] yeah - wel just hang a guitar pickup around the front of an average PC ! The problem always used to be CRT monitors but they are rare now. Light Dimmers are another nuisance and I once tracked a periodic blip down to a DVD player a good few rooms away in a friends house ( CE regs ?) The watch thing strikes me as a particular issue thoufgh as it's going to be on the player's wrist :-! Getting away from the staic issue I know but it's all annoying...

[quote name='V4lve' timestamp='1363942947' post='2019756'] Wierd. I took the shielding off the back of the guard and it seems a whole load better. [/quote] That sounds like the shielding wasn't connected to 'Ground / 0V' or the connection wasn't 'solid' enough. 'Continuity' as tested with a meter is not always enough as the connection can have a significant inductive impedance (esp a round wire connection - flat braid is better). And whilst Copper tape might be more fiddly to work with than the 'black conductive spray' often seen , the Copper is always better. If the 'shielding' is 'floating' then it could make things worse by acting as a 'transmitter' for the interference. 'Floating' shields can be worse than having none at all ! I know this is a bit a bit 'hand waving' but it's not a simple area ! ( if you're wondering - yes this sort of thing is part of what I do for a living :-)

[quote name='JoshOmachine' timestamp='1364157070' post='2022703'] And yes it is the same for all of the other instruments. As a rule DI boxes should always go straight to a mic input as their job is to take a line level unbalanced signal and transform it into a mic level balanced signal. [/quote] But in this case the DI has already provided a 'Line' (or thereabouts) level so it would likely be best to take the '0dB' line level output to a line input. The details really depend on the internal circuitry of the mixer but it's essentially all about gain mapping. Attenuating a signal then boosting it again results in a worse signal / noise ratio so ideally you only want to attenuate at the last stage you can so you are cutting all the noise as well as the signal. It gets a bit more complicated depending on the available headroom etc but that's the gist. Where it's essentially a passive transformer DI then that will want to go to a mic input. Essentially the transformer trades a higher impedancce / higher level signal for a lower impedance / lower signal level and balances it into the bargain. But where you have active electronics you can get a 'line' level output that is low impedance and balanced. Strictly 0dB is a relative level but I guess they mean 0dBu or similar which defines an actual signal level. 'Standard' proffesional line level is nominal +4dBu witha maximum level of around 21dBu or greater. The '-20dB' pad makes the level generally suitable for amplifier inputs / fx pedals etc ( I have a Sansamp BDDI with similar output level options)

[quote name='icastle' timestamp='1363712479' post='2016418'] I've heard of this but have never found myself hugely convinced. You need the right mechanical interactions and humidity and to create and maintain a static charge on a material and I find it unlikely that many people manage to get both of these environmental anomalies on a regular basis. Some materials are prone to static (ever been in an office where your shoes, the carpet surface and metal door handles give you a spark?) but finding the 'correct' combination of materials in a scratchplate would take an illogical degree of work. Even if it *is* a static charge, once it's dissipated then it's not likely to reappear in a matter of seconds. Shielding scratchplates and body cavities is more to do with eliminating RFI than controlling the build up of static. I'm not doubting that changing your scratchplate resolved the problem you were having but I'm more inclined to think that the physical process of moving stuff about when you changed it actually rectified the original issue. But hey, I'm no physicist so I'm quite happy to be wrong. [/quote] Yes the charge does dissipate quickly but the action of rubbing fingers / hand etc against the scratchplate causes further charge. It only occurs while you're playing. If you're careful not to rub the scratchplate it doesn't happen because you're simply not producing an electrostatic charge. Additionally it occurs as a problem where the scratchplate surface has worn to a shine - near strings / around pots etc. And many players report it becoming a problem only after several years as the scratchplate becomes more 'polished' by friction. In general it's more noticeable if you're using high gain/distortion circuits. It's worth bearing in mind that depending on design and impedance parameters 'normal' Hi_Z pickups can be very sensitive to all sorts of noise sources. I once spent a good while tracking down a tick from a guitar at what seemed like 1 second intervals. I should have realised it earlier but it was my quartz battery watch with a seconds hand. You could watch the hand move and hear the tick simultaneously !

[quote name='BILL POSTERS' timestamp='1363653617' post='2015468'] Matter of interest, was it a 3 ply one ? Just wondering if it had a different material in the centre. [/quote] I thought I had posted a reply to this but can't see it here so apologies if double posted. Yes it's a 3 ply black/white/black plastic. I think it's only the outer face that is the issue though as the problem occured where that had worn to a shiny area.

[quote name='BILL POSTERS' timestamp='1363653617' post='2015468'] Matter of interest, was it a 3 ply one ? Just wondering if it had a different material in the centre. [/quote] It is a three ply Black/white/black. I'd assume material was the same ? but don't know. I think it's only the outer surface which you touch that is the issue as it gets 'polished' over time where touched often including round the pots. I recall finding quite a bit of discussion on it on the web if Googled. Seem to remember it was a particular point of discussion on a Telecaster forum.

[quote name='icastle' timestamp='1363478357' post='2013297'] Well that's plastic, so it's not that - you can't earth plastic. [/quote] Woahh...it can def be caused by a 'plastic' pickguard. It seems that when they get worn they can generate 'staic' type inteference when touched / rubbed. Plenty of info if you Google it. Look for 'shiny' bits on the pickguard where it's been 'polished' by hand movements etc. I had this happen on an Ibanez Strat copy. You can shield with foil and dryer sheets also work to a degree ( they are 'anti static' )- but I got a new pickguard cut at a place in Orpington.

[quote name='kennyrodg' timestamp='1361620528' post='1988349'] Hey Folks, I used my trusty old Yamaha BBT500H head last night at rehearsal. It was the first time I used it with my Thumb Bass and 8x10 cab and I was pretty blown away with the tone. I've always loved this little head and I've never really found anything that compares with the tone of it....subjective I know but it just lacks a bit of balls at 4 ohms. I'm wondering if there are any lightweight, rackable, bridgeable and doesn't cost the earth-able power amps out there that don't add any colour to the sound that I could run with the Yamaha. I would be very grateful for some suggestions I could research to see if it's viable. Thanks in advance. [/quote] So are you saying that you've run it into nominal 8 ohm cab(s) and it sounded better ?

Let us know what you think of the Arion Phaser. The stereo dry/wet option on Arion pedals is nice. As it happens I have the Arion OverDrive pedal which offers either a direct or 'soft' version of the effected signal on the second output. Some people seem to really rate this pedal. Not my thing for either guitar or bass though so up for sale if anyone interested. Must get around to listing some stuff for sale as picked up a good few pedals recently and need to sort out what to keep. and what to sell.

I forgot that I also have Rocktek '6 Band EQ' (100Hz - 3.2kHz bands) and 'Bass EQ' (80Hz to 2.6kHz bands). No problems. The only real issue I see with the build quality is with the plastic battery cover which also bears the pedal name. The plastic 'push' clip can rather easily break off so some pedals have covers which don't clip in or are missing. I might put the Flanger up for sale on here (missing battery cover btw) if anyone interested.

agree with the main thrust of 'Whatever works'. Just to note that compression can be useful in front of an Octaver to improve tracking by keeping the input level to the Octaver steadier. Also putting any overdrive/dist/fuzz before a modulation - chorus / flange - gives the modulation effect more frequencies to work on.

Just raising this thread again 'cos I recently picked up a Rocktek Phaser on ebay and agree with the OP. Sounds good enough on it's own and really animates distorted tones. I also rate the Chorus - put it this way - I had one years ago that was stolen from my car and now have two. Also have the Flanger but not so keen on that preferring Arion Stereo Flanger. On the construction - I don't have a problem with the construction. I wouldn't say it was at all poor - decent thickness of material / decent screws etc. Switches never failed though not gigged much. Decent pots / knobs. Plastic cased pedals may be an issue from a screening pov but can't see if they are shielded on the inside. If you can pick some up at a good price then I'd recommend.

[quote name='3below' timestamp='1359055329' post='1949214'] Have thought about this a bit more (not sure of brain power after day at work though). The unit only working when presence pot full on could be symptomatic of a 'fractured' solder joint. If the pot is a pcb mounted one it seems even more likely. The fix might be as simple as 'reflowing' the solder joints of the pot on the pcb. [/quote] +1. First stop is to reflow the solder joints to the pot. Maybe remove existing solder ( with solder wick ) and re solder. Is there a screen/wire connected to the pot body itself ? If so then it's a suspect as such joints sometimes fail due to the pot body acting as a heatsink during soldering. The joint may then become unreliable over time (dry joint). Re make all the solder joints anyway. Let us know how you get on.

You'll prob need to experiment with different R / C values for bass and dependent on pickup(s) and value of the volume potentiometer. Unless you really need to use the volume control on the bass it's much more predictable to use the amplifier or mixing desk level controls.

[quote name='3below' timestamp='1358924853' post='1947043'] Be brave, open it up and have a look. From what you say it could be something as simple as detached screen lead on a jack socket. If it is this obvious it is an easy DIY fix. [/quote] +1 Sounds like a broken ground (screen) path.

Location ?

[quote name='Jus Lukin' timestamp='1357296285' post='1920443'] With velcro I find that the glue on the back is usually the weakest link. I've superglued the stuff to a pedal more than once! [/quote] +1 Yeah - the problem wioth sticky back Velcro/ Hook'n'Loop fastener always seems to be that the hook/loop fixing is fine but the adhesive fails. eg on IKEA Venetian blinds where it's used to fix the fascia. I guess the right sort of 'superglue' or epxy resin ( eg Araldite) would sort it if you're happy to commit !

[quote name='51m0n' timestamp='1356371494' post='1909666'] It will cover far more than just bass, and its good metering will mean you will have a great tool for educating yourself, and your ears to comperssion. Enjoy it! [/quote] +1 You should really get a 'proper' stereo compressor if you want to use it for recording in general as well as bass. Standard units from dbx / symetrix / alesis / behringer etc will offer you a great deal of flexibility but that also means access to a shed load of sounds which you won't actually want to use on a particular sound source. So if you want to be effective you really need to learn / read about compression - there's lots of info out there - to understand how to get the effects you're looking for. That's more important really than the particular box of electronics chosen. Playing with software compressors on a DAW is a great way to get a feel for it without buying loads of kit plus you get visual info on the monitor. Of course something like the Carl Martin mentioned may give a flavour of something you can't afford in it's fully fledged and expensive guise ( Urei / Pultec etc ) so it's a judgement.