Balcro

[quote name='lurksalot' timestamp='1343072133' post='1744866'] The license did not specify 'sound insulation glazing' it specified double glazing , the spec of the glazing was irrelevant to the license as long as 2 pieces of glass were there , Ironically , the pub window frames were/are glazed with 6.4 lam , so stretching a point they already were double glazed. we fitted 6mm tough secondarys with a 100mm space anyway , the techies thought it would be a good job. and everyone seems happy . [/quote] Well, it looks like you triumphed despite the uninformed - not really idiots. The person who wrote "double glazing" was definitely in the category of the uninformed. It could have been the Licensing Officer or it could have been, I'm sorry to say, an Environmental Health bod acting as adviser. Either way the spec words are WRONG and misleading. "Double glazing" which is commonly 4:20:4 in a domestic setting only has a small acoustic effect whereas your "sound insulation glazing" / double window, is exactly what is required. With a 6.4:100:6 system you will probably achieve a full 20dB sound reduction. Balcro.

[quote name='ashevans09' timestamp='1342973420' post='1743298'] Just out of interest/for a bit of a laugh, anyone got some examples of some really stupid cabs? I'm talking things like 8x15s and things like that. It's a sunday and I'm bored [/quote] I can't find the link to it but I've come across a gear collector with a curved display of vintage cabs. I think the biggest was a 6x15 Kustom brand cab from the late 60's/early 70's. Balcro.

[quote name='lurksalot' timestamp='1342979300' post='1743378'] I am not so sure about this , I recently did a contract installing secondary sound insulation glazing to a pub in Crewe, apparrantly the terms of the music license included double glazing, and the last inspection noted that the place was single glazed . I was half way through some getting all the sound info to present to the brewery when I realised there was no stipulation of noise levels to work on , the spec was purely 'double glazed' . It cost a lot more than £1K and the brewery were happy to sort it out. [/quote] I should have emphasised that Environmental Health can't specify precisely what is to be fitted or installed when they are taking action for "Nuisance" under the Environmental Protection Act. It's one of the legal niceties that get in the way of quick action. If however the EH people meet with the owners/managers and or a noise consultant for the venue, then the terms of the Notice can be agreed and drafted accordingly. In the case you mention, you refer to both "secondary sound insulation glazing" and "double glazing" in the Licence. Can you tell me what precisely was fitted? One type is good and the other could be a waste of money. Balcro.

[quote name='musophilr' timestamp='1342969068' post='1743243'] Like the people who moved into our village, then complained about the church bells ringing on Thursday evenings. Now there's just the noise of HGVs being driven through the village ... [/quote] This sort of thing really annoys me. If it had been me working there, I'd have stressed the importance of that "moderate level of noise" that must be accepted under the law. Sometimes I really wonder of some of these Environmental Health Officers and their senior management really know what they're doing. Or maybe someone knew somebody who knew etc... As for aircraft noise, nothing can be done directly. If the airlines/airport keep within an agreed time frame or noise control plan etc, then all they might get is a verbal slap on the wrist. Balcro.

Most of those limiters have been fitted long after the local authority have become involved because of complaints. They are often the only practicable way (from the venue owners point of view, not the band's) of keeping the noise level under control. It's cheaper to fit one of those than do a proper noise insulation job by installing double windows and extra lobbies. The local authorities can't instantly tell the venues to do a specific job such as "you must build double windows on the front wall" or "you must build an extra entrance lobby beyond the existing one". The owners always have the option to do what is called "alternative works that will achieve the same effect". The building work could cost thousands, a noise limiter probably costs a little over £1000 for a simple installation. Wiring the alarm up to openable doors or windows probably only costs a few hundred more. By-passing the circuit by looking for sockets not on the control circuit is a short sighted thing for the venue to do; it could cost them their entertainment licence. Post no.3 from BigRedX - I agree. The trouble is the venue owners/managers want to push the boundaries of what they can get away with, they also want the business, so the band is stuck as piggy-in-the-middle. As BassBunny says, "most of the issues with noise limiters are poor installation". I'd add to that poor setting-up and poor level setting. Oh, and chewing gum over the noise level sensor. Post No. 5 BRX. The legal position. It's more likely these days to be the on-call Environmental Health person - that used to be me! If they find you've bypassed the control circuit then you don't get it in the neck. It's the manager or owner who holds the Licence and it's up to them to control the noise level. If you've by-passed the circuit without the management's knowledge, then the chance are you won't get booked again. E.H people don't normally have the power to shut down the gig on the spot. I've never heard of equipment being seized from a live gig. That's usually confined to nutty serial domestic offenders who've been served with legal notices and ignored the conditions. I've done it from one of those temporary shops that wouldn't stop it's noisy promotion. The other exception is unauthorised raves in woods or barns. It could happen at a pay-party, but only after a notice has been served and the problem had persisted. Chrismuzz. Sorry, it doesn't work like that. The law (or rather case-law) says the opposite and has done for over 100 years. True, there are plenty of idiots about, but before they move in, did they see the venue in action? Quite possibly not. If you move in next to a pub or similar venue then you have to expect a certain [u]modest level of noise[/u] - that's the law & case-law too. To make matters worse, that householder is entitled to leave a window a few inches ajar for ventilation and still be entitled to complain about an excessive level of noise. Only when the noise exceeds that "modest" level of noise, does the law kick in. Balcro. P.S. Rayman, don't wreck your Stingray on the little black box. You ought to blame the multitude of idiots who forced it's introduction and then didn't do a thorough job on making it work as effectively as it can do.

ET beat me by 2 hours. By coincidence I was reading that very wikipedia entry just last night, having had a short video session on youtube. Leon Wilkeson is even featured on the 'find a grave' link lower down the page. Balcro.

[quote name='Balcro' timestamp='1341662040' post='1722394'] Calling crag42, You have a P.M. Balcro. [/quote] Monday Bump!!

You might want to plough through this recent thread to get some idea of the possible complications - http://basschat.co.uk/topic/180507-does-anyone-make-a-separate-mid-range-speaker-for-a-modular-system/ You need to consider the efficiency of the proposed 2x10 so that it matches the loudness of the BigBen. The SWR website says the Big Ben has a reference efficiency of 97dB for 1 watt of input. What is the specification for your 2x10? Balcro.

For entertainment / musical instrument loudspeakers it doesn't matter, but purist hi-fi people tend to design loudspeakers with the frame flush to the baffle or with a surrounding trim piece to blend the frame into the baffle. Their argument is, that it minimises unwanted sound diffractions from the sharp edges of the cut baffle board. The ultimate aim or obsession being a flat frequency response. Putting loudspeakers inside the baffle means the drive unit fires out into a 15-18mm deep tunnel, but as its for guitarists, who cares. Maybe Bill will have a technical opinion on the validity of this "hi-fi" claim. Balcro.

I don't know if the valve specifications were as the original or if the eq's were correctly done, but it's 2 and 6 for me, the Marshall JCM800 and the Hiwatt. The rest nowhere. Balcro.

Calling crag42, You have a P.M. Balcro.

Wow, suddenly the skill level of the entire Basschat community has risen twelve fold!! We're all hyper elite mega members and sexy too. Even I can slap. Thanks steve-bbb. Lordy! Thus spake silddx. And it was good. Balcro.

What a terrific supportive thread. Basschat at it's best. There's so much good advice in the various replies. I particularly like what Charic and Sarah Thomas have to say. Theory is a means to an end. A bit like the driving test before you drive for the rest of your life. So avoid getting hung-up on the mechanics of musical theory. The various scales can be useful for giving you background structure to what you're playing, but they're secondary to playing the note interval and having the ear for what the third, the fifth, the minor 7th and the pentatonic whatever etc,, sound like. Do go and get some lessons from a sympathetic teacher. Scales, chords and intervals seem to be what you're looking for. You might want to know the notes and that 's fine, but time will come when you just hear a note and you'll know a fifth or an octave because you can sing it in your head. I know you like books fumps. Remember the "Hendrix" book. Personally I would keep the book use to a minimum. I've only ever bought 2 and the music/tab stuff was enough. Says to self, ("did Paul McCartney really play that floppy bass line?" -- and he can't read music either). However if books do it for you, then use 'em. Personally, I'd like to pick you all up in my magic bus, including "kingbollock" who's so far west he's almost in the sea, and take you off to the Basschat weekend school where you can learn a little, laugh a lot, cry a little, and learn a little bit more. So from an ancient (10 years older than Karlfer's coffin dodgers) theory-absorbed piano/keyboard brained bass player whose fretting hand doesn't work too well, good luck. Balcro.

There's a lot of love on here for Squiers. If you were around about 12 months ago, you'd have been aware of the rave reviews of the CV 60's Jazz. Then the best budget bass under £300. Punched well above it's weight. All the CV's are Farida products. Balcro.

Hi spoombung, Picking up from Bill Fitzmaurice's post, you might want to consider checking the speaker inside the box. The cost of getting the correct 12" speaker could well be cheaper and more effective than your original suggestion of midrange & crossover. If you feel like grabbing a screwdriver and poking about inside to see the driver, we may be able to help. Perhaps a couple of pictures. Balcro.

[quote name='Spoombung' timestamp='1341250160' post='1715783'] That sounds a bit high. I was thinking 400HZ - 1 KHZ: ie, midrange. I have a dull sounding speaker that could have more a clear midrange. It's a bit boomy. Just looking for a general pupose unit you can chain -up (link) with a bigger speaker really [/quote] Hi spoombung, What exactly is this dull sounding speaker you're talking about. Do you have a manufacturer, model name or number? What box is it in and is it the original speaker? Balcro.

You need a DIY friend to make a small box about 5 litres in size(internal volume). Then the important bit. You need to match the midrange to the existing/chosen bass unit. Crossover operating somewhere about 1KHz to 1.5KHz would be my guess and capable of handling 3-400 Watts. What is the existing bass unit? Balcro.

Interesting comparisons. The Warwick had the deepest dry bass and that rasp. The SPB-1 in the Squier honked like a jazz! The reunited pick-up in the JV Squier had the classic rounded tone. Lower output than the SPB ? Thanks Balcro.

http://www.youtube.com/watch?v=CdMf-86Evro This was 24.. ahh, happy days. Balcro

This, maybe when I was 14 - [media]http://www.youtube.com/watch?v=N8zI5xjwKYw[/media] on to 22 and it's this.......... [media]http://www.youtube.com/watch?v=53_4f2I4weg[/media] and then to 24?............................ Balcro

[quote name='Balcro' timestamp='1339445032' post='1688690'] Calling munkonthehill, Houston, we have a problem! Please check PM's. Balcro. [/quote] Friday Bump!!

Hello Andy, As a matter of interest, can you take some pictures of the cabinet and put them up here. Also, let us know the height/width/depth. It may be helpful in advising on a single or two speaker variation. Cheers. Balcro.

Yes, I agree with what you say. A nice bass, making a fair stab at a jazz, but definitely not a jazz. Yes very light. My bathroom scales suggested a few ounces over 8lbs. Good luck with the gig on Thursday. Balcro.

Hello McNach, Thank you for reviewing my bass. Welcome to the club. I've had mine over 2 years now but I didn't review it because I don't have the experience against which to assess the bass and do it justice. Everything you've said seems to ring true with me. Like you, I prefer the sound with the selection switch favouring the neck pick-up. From what I remember the second toggle switch is described as a mids-boost switch. I think it works at about 600Hz. To me it was always seen as the cutting-through-the-mix switch. The sound you're getting with new strings will be about right, as it's supplied from new with EXL165's. I guess it does sound a little polite. The pick-ups/eq don't have the biggest dynamic range, but it sounds good on a lot of mainstream material. I run the eq with a just a small bass boost and the treble about flat. Like that, I have a sound that's very close to the low bass on "Bohemian Like You" (although I think that's more synth than real bass). I like the switching possibilities because it gives a versatility. It's also good for playing along to stuff like Kooper/Bloomfield "Supersession with Harvey Brooks on bass. Jazz-a-like at the neck, flick the mids-boost for light rock, switch in all the pick-ups for standard rock. See the back in my avatar. The circuit/schematics are still available on the Cort web-site. Enjoy. Balcro.

[quote name='andyjevans' timestamp='1339833419' post='1694998'] I've been looking up some bass units and some of the 12" look fairly massive and possible: Faital 12HP1060 Celestion BN12-300S Fane Colossus 12 MBN Eminence Kappalite 3012HO Eminence Kappalite 3012LF These should all work into 75 litres - may be better to port the enclosure. Most units are 8 ohms. Is there any advantage or otherwise of using a 4 ohm unit? Andy [/quote] I must agree with LawrenceH about the Celestion. It is the weakest link. I ran it through winISD this morning and it exceeded xMax with an 80 watt input! I double checked Celestion's units and t/s parameters and they went into winISd without an error prompt. The FaitalPro has a strong mid-range from 100 - 400Hz and can also be obtained from adamhall.com in Southend, but ooh they're expensive. The 12 HP1060 is $359 at usspeaker.com so probably about £200 over here. The Precision Devices unit appears to be a 12" PA midrange speaker, not for bass. The FANE measures OK with a strong midrange between 200 and 300 Hz, but prefers a larger cabinet to get decent low bass extension. However, I've just remembered the Beyma 12LW30N. It measures very evenly in winISD and has a recommended enclosure volume of between 20 and 70 litres. Worth a look. What do you think LawrenceH? Balcro.