Balcro

[quote name='YouMa' post='506649' date='Jun 5 2009, 09:35 PM']Anyone like canned heat? Time was is a great bass line,a really groovy band as well.[/quote] Yea, lovely & soft. Last seen doing the backing track to Waitrose TV ads. How many of the originals still left alive? "I'm already in a fog, I don't need the machine." I'll go dust ma broom! Balcro

[quote name='fatgoogle' post='503385' date='Jun 1 2009, 10:48 PM']Ive been looking for a cab for around 300 euro to play with my ashdown mag 600R, because i made my own 1x15 with a Fane 15-425 and although when it was first made i was all excited and thought it was the chiz-diggle or whatever, but ive been struggling to get a useabl;e tone at band practise with, it, its grand at home. So i thought before i go abot changing heads so soon, i should get a nice proper cab i suppose to make sure i dont go wasting money. Im wanting a 4x10 preferably with a tweeter, with a attenuator? So far im come up with a, Peavey tvx 4x10, this has got everything i want on it, but the thing im most confused about is it says 350 watts rms and then 700 watts program handling. Is 700 whats to be trusted at all or is it a marketing scam. Im only going to be putting 300 watts through it so was wondering for future reference. I havent played one so reviews and thoughts would be great. Hartke VX 4x10, also i havent played one, but hear bad things about hartke cabs, i ve played a couple of their heads and liked them. So thoughts again on this would be great. Any other cabs around 300 euro and that can handle 300 watts + at 8 ohms. Also if it does prove to be the head that in the end i cant work, i had played one a couple of times and thats why i bought it, but if it does prove to un-usable to use in a setting, which in the end is most important to me, ill need or want(most likely) a differnt head. The two ive been thinking are a Hartke Lh 500 or a peavey tour 700. THoughts and opinions on all of these would be great. Why cant they make something that just works for anything, why!!! I play a Fender Jazz 24, if thats any help. Thanks. Sam H[/quote] The Peavey TVX 410 is apparently now discontinued, but it's an 8-ohm cabinet rated at 350watts R.M.S. Ignore "program power". It's nonsense in this context. A 300 watt amp will be fine, but don't run it at full pelt. Sorry, can't help you with the other questions. Balcro.

[quote name='Monz' post='500325' date='May 28 2009, 10:07 PM']Our guitarist slipped me a CD at our gig on monday and said "listen to the bass on <take me to the pilot>" I knew Tom our guitarist used to be /and still is a very good bass player but this track on Elton Johns second album was what fired his interest and I can see why... It's perfect bass for me... funky, not over the top and so in the pocket it's unreal. I guess you guys that have been doing this since God were a lad already know how good he was. Any other players/albums I need to listen to [b]besides the ones with their names in neon[/b]?[/quote] Just checked my albums and Dee Murray is on most of the early classic E.J classics. Still in the same E.J arena have a look at his "Rock of the Westies" album. Bass more to the fore in the mix and played by a Kenny Passarelli. Have a listen to The Steve Miller Band (70's). Lonnie Turner on bass. He's apparently playing the second ever Music Man bass. Once again, he's just there. You'd miss him if he wasn't there. Balcro

TOP MARKS, OTPJ. Commendation & Bar. Balcro.

Thanks for that picture JPAC. I might just change my mind. Definitely more red than on the Ibanez web-site. Best of luck with your 500. Enjoy, Balcro.

I'm late to this game so I don't know anything of the earlier stuff. I think I prefer the streamlined look of the current basses. It's got to be the SR4000E Prestige. Beautiful clean simplicity, mahogany body for deep lows, mono-rail bridge and finished in "stained red". Unfortunately they're about 1500 Euro's. Lesser GAS for the SR500. Very similar body, but I can't stand the dark brown mahogany colour even if it is £1000 cheaper than the 4000E. Now if it were in a reddish mahogany, hmmm? Don't like the gothic horn on the BTB series although the shape makes a good handle and consequently the top strap pin is in an almost perfect position. Balcro.

[quote name='flatwound' post='485528' date='May 12 2009, 02:55 AM']G'day all, someone, anyone.....I recently bought a couple of new basses :P , and on reading the reviews on different forums etc, one was described as being "one Hefty four string", another review said, "this is quite a light bass". I'm confused, ([i]although nothing unusual there[/i]) they both weigh 8lbs and a little bit, [i]cant be more accurate as scales aren't real flash[/i].... is this considered to be, heavy, light or average ?? I like the weight. Thanks for any input. :)[/quote] Journalisitic imprecision or licence! Hefty" probably referred to the tone. 8lbs is definitely light. Balcro.

[quote name='JPAC' post='480259' date='May 5 2009, 06:59 PM']Just wondering how long it took you before you felt comfortable playing bass for a complete song?[/quote] Just playing until it feels fun to do without being 100% perfect. Not to live concert standard. It varies with the song. Just done All The Way from Memphis in about 5 days @ 1hr a day. Sealed, Sealed, Delivered - weeks, and still not quite there after 3 times the practice. Balcro.

Hi there, I've dug out one of my S.C albums and listened to "Pork Pie Hat, but the version I have sounds fuller and "synthier" than your download. Yes, the synth stuff gets in the way, but I would go back to basics on this and only play the minimum. The sleeve notes on my CD say that SC'c version of P.P.H was written as a tribute to Jaco and Gil Evans, so let the silences, pauses & sustains happen if they're there. Sometimes the bass - if you can call it that - takes the lead and other times it fades back into the mix. Good luck. Balcro.

[quote name='Huggy and the Bears' post='464835' date='Apr 17 2009, 11:28 AM']Just thought I'd float this and see what you think... I practice with the band at my house periodically. Sometimes once a week for a couple of weeks (if we are not gigging) but usually once every 2 or three weeks. We (2 guitars, bass and drums) play in my living room - detached house on busy main road, no neigbours on one side, colleague from work on the other side, vacant house over the road, friends either side of that. Always have windows and doors closed and only use one monitor for vocals so not flat out at all. Usually pitch up at 6 o'clock on a Thursday and jam till no later than 9. We stop for a beer or brew and so it is not constant. Anyway, 2 weeks ago I received a letter from the council informing me that they have received a complaint about loud music from my house. This is unsubstantiated but non the less they were keeping me in the loop. I called them and firstly apologised and asked for my apology to be passed on and invited anybody to come and chat to me about it as I am cool about it and the last thing I want to do is upset anyone. The council worker read the file (sh*t! - I've got a file!) and identified that someone had claimed that I was 'band practicing every week, in my garage, very loudly'. So, I accept that I have clearly aggrevated someone but (at the risk of appearing to be splitting hairs) would deny playing in my garage (did play in it for a couple of months (me and a guitarist) up until 12 months a go) but not since, and we certainly do not play every week. Additionally, they pointed out that at this stage there is no evidence whatsoever to substantiate this complaint and have recommended that the complainant keeps a diary of noise. So, I concede to upsetting a neigbour and apologise for this but would like to work around the problem and still be able to play without any aggro. Therefore what are reasonable noise levels and times for making the noise so that I could negotiate via the council a way forward rather than just stopping playing at home. Sorry for the ramble! Any ideas???[/quote] Hi Huggy, OK. I'm the guy from the Council, or I used to be. There's lots of good advice been given so far, well apart from Golchen's (ha ha). As they've said. It's unsubstantiated, so they are (too busy/can't be bothered to investigate) for the time being. That's why they use this diary system. It's a way of weeding out the least intrusive noise complaints. If you're only playing once a week, they'll want at least 3 or 4 occurences before making a site visit to the complainant's house. Anyway, take the complaint seriously and involve all the band. There could be many reasons why people don't knock on your door and speak to you directly. It could be a little old lady who is not going to take on 4 burly men or it could be as "Stylon Pilson's" first para. So classic. If you're going to send out a letter - in the most polite & conciliatory terms possible - do so, but I'd be surprised if you get any replies. However, nothing lost in doing a letter drop. Send a copy of the letter to the council's investigating officer- good PR and he can put it on your dreaded file. The Council is never going to quote noise levels to you and will never directly disclose the identity of the complainant(s). Generally speaking, the times 6 - 9pm are perfectly reasonable, so no problem there, unless the complainant has young children who can't get off to sleep (or so they will claim) or you're interfering with Coronation Street. It's just the noise level or a particular type of noise. Drummers and vocalists are often the worst parts of a band noise. Speak to the author of the letter and try to get some info about the exact nature of the noise that causes the problem to the complainant. "Spike's" point about keeping your own diary is very useful. The complainants may be picking on the wrong target. Also. get the rest of the band to practice while you walk round your house in arc beyond those local neighbours. Then check out the sounds by your neighbours. Make a written note of your findings. Maybe you'll come across another practising band? Let us know how you get on and come back to us. Balcro.

[quote name='spinynorman' post='456420' date='Apr 7 2009, 02:10 PM']Talking of drummers, Jon Hiseman with Colloseum in 1970, hard to believe there was only one drummer playing. I'm sure he had a couple of dwarves hidden behind the kit to help out. I saw the first outing of Derek & the Dominoes at The Lyceum in June 1970, I think the only gig Dave Mason played with them. Oh, and Ginger Baker's Airforce with Phil Seaman and Graham Bond, around the same time.[/quote] I can assure you there was only one Jon Hiseman. I watched him from the side of the stage on at least 3 occassions and took photographs. He and the band were regulars at my college in 69/70 or thereabouts, and especially during rag week. At he last rag week I saw them the hall was only half full. When the light went up at the end of the set and they could see the Students Union had lost money, he returned half his band fee! I wonder if that would happen now? PS Dave Greenslade was the organist and I think on one occassion a Tony Kay played bass. Good times. Balcro.

[quote name='Linus27' post='453206' date='Apr 3 2009, 12:06 PM']Tomorrow afternoon I have my first ever audition. In the 20 years of playing I have never had one before. Always been in bands with friends. So as you can imagine, I am a little nervous especially as for the last year I have been learning to play with fingers and I really want to play with fingers in this audition. 20 years of pick player is a hard habit to change. All the songs are original and I feel fairly comfortable with what I have learnt so far despite some of the bass being hard to hear in the mix. Can anyone offer me some pointers, tips or advice for my audition. Thanks. :)[/quote] Can only think of one thing. Take a small towel to keep your hands dry. Lots of luck. Go Linus27. Balcro

[quote name='bremen' post='452392' date='Apr 2 2009, 01:21 PM']Your bass has separate volume controls for the EA and DG?[/quote] No, it has one tone control and one volume control. My post was a little mis-leading. Having ruled out physical defects, fitted new strings and done a full set-up, I'm left with the same lack of volume on G & D as the OP. I couldn't tell you how it's wired up, but if you turn the tone control anti-clockwise it brings in the G & D. It acts in a non linear fashion and the boost to G & D is quite sudden and rises steeply, while the output from E & A holds up. No crackles or pops, just a very non-linear action. Put the tone control in the middle and I have the same imbalance as the OP. Balcro.

[quote name='ash_sak' post='452103' date='Apr 2 2009, 12:20 AM']Hi, i have a jazz, style, bass that has a realllly low output on the D and G strings but the E and A are relatively loud. (I posted something earlier about the voluming cutting but i realised that was just the amp) I've tried altering the EQ on the bass n that doesn't change the output...can't see why it would but perhaps. I was wondering if anyone had any idea as to how i could boost these two strings volume. If i was to play a G on each string (sticking with the same pitch G) then it sounds louder on the D and E strings, so it's not like the bass is responding differently to different frequencies. (I might've just mis matched a lot of words there but i hope you'll get what i mean) Would changing the Pick ups, or wiring or the tone controls (it's passive right now) help? Thanks.[/quote] Snap, same problem. But then I've got an old cheapo "Precision" style bass with the combined offset pickups. In my case I think it's just that the potentiometer for the pickup under D and G, is very non linear. It "comes in" about 3/4 of the way through its travel. I've done all the other set-up stuff and the gap between pickup and string is pretty uniform across the strings at about 2.5mm. In my circumstances I can just live with it by backing-off the pickup for E and A. I know its a bit of a fiddle, but you could check out the all the "pots" and give them a good clean with an electrical switch cleaner. Or even check all the solder joints. Good luck. Balcro. Balcro

[quote name='OutToPlayJazz' post='180712' date='Apr 19 2008, 09:14 PM']I read with great interest the Mike Brooks review of the new Ibanez SR300 in this month's edition of BGM. Has anyone tried one of these & can a sub £250 bass really be that good??[/quote] I guess they should say very good value for the money. I haven't seen the review 'cos I haven't seen the magazine, but before this post I'd placed this bass as number one on my shopping list for the end of the year. To think that it's only as expensive as it is because of the fall in the value of the pound! It could have been about £30 cheaper. Good design point question by Peter Train, but I think I can overcome it. I have a thumb rest on my Precision-style bass, but I hardly ever use it, preferring to rest the thumb gently under the "E". The good separation between the pickups also gives you 3 different places to play. Balcro.

The older I get I'm less inclined to look for a label. When I grew up, there were few products available and so you tended to become Fender brained. Back in the sixties, if you'd asked the average Joe (general public + guitarists) about makes of guitar, he'd have said Fender or Gibson, with a few mentioning Hofner of Rickenbaker. The latter 2 names were only on the horizon because of Paul McCartney. Because the "stars" had them, these brands acquired a special status and desirability. Or if you want to be a bit more upmarket, they had a certain "cachet". Move forward 40 + years and look at Ipod. How did it take off - because David Beckham and other celebs had one or were given one to promote. The name Ipod has become like Hoover was to vacuum cleaners. The brand is the object. .... then along came Dyson. Development over the years has been slow and most basses/guitars still (hark back to/look reminiscent of) the early Fender designs. Even the hand-made designs. I must agree with "OutToPlayJazz", Status basses do apear to be an honourable exception. A definite technological step forward. Does that make them more desirable to me: not especially, mainly because in my present circumstances I couldn't afford one, but I would be interested to hear or play one and then make up my mind. There's a lot of choice out there, so cast around. If the bass does the job and is rewarding to play, go for it. Balcro. Edit: PS . Did I spell Hofner & Rickenbaker correctly?

[quote name='Pookus' post='436968' date='Mar 17 2009, 10:19 AM']As long as the dimensions add up to 55 litres does it matter how wide / high / deep the cab is? Thanks :)[/quote] No hi-fi nut would ever build a loudspeaker with 2 internal dimensions the same. So no cubes. Try (external) width the same as a rack-case, with internals at 52cm high x 24cm deep. That will give a slight excess over 55litres and allow for bracing etc. Good luck. Balcro

Luvverly. Best of luck and enjoy. Balcro.

Signed, sealed, delivered, - Stevie Wonder. It's taken weeks. I now need to get the hips and knees in with the groove. Before that "Sweet Home Alabama". Much easier, but they've both brought a smile to my face. Balcro

Bassers, don't give up and keep your musical friends around you. It could be you. [url="http://unofficialacousticcontrolcorpmessageboard.yuku.com/topic/2197/t/A-wonderful-story.html"]http://unofficialacousticcontrolcorpmessag...rful-story.html[/url] Balcro.

Hi Cameltoe, Not a huge choice out there if you're thinking of new. Ashdown Electric Blue 12, Behringer or Laney RB4. The EB12 has 180w and (maybe) an extension speaker socket, while the Laney has 160w and (definitely) has an extension speaker socket. Secondhand, I like "escholls" advice. You could run that in 4th gear (and it may have an extension speaker socket as well). Nice. Balcro.

[quote name='cameltoe' post='428525' date='Mar 8 2009, 12:37 PM']Played a really small pub last night, ridiculously small. Was tucked away into a tiny corner, most of which was taken up by the drums and my Hartke vx3500 combo. The Hartke combo is a really good amp, like it alot, but it's just too damn big for these small gigs! It's the only amp I have, and to be honest, with a few more of these small-ish pub gigs to come (all the pubs down here in Cornwall are quite pokey) I could maybe do with another combo specifically for the more 'intimate' venues! My price range isn't that great- £200 ish tops, but I have seen a couple of small combo's for under that price. Not only do I need it to be reliable with good tone, but it also has to be LOUD enough to cut through a whole band! I remember trying a 100w Ampeg amp last year, and it was nowhere near powerful enough for what I needed. I was looking at the Ashdown Five 15, at around £155, but the reviews on Harmony Central aren't exactly reassuring, with people saying it sounded bad and distorted anywhere past 6 on the volume. Any suggestions on other models, or any more info on the Ashdown Five 15 would be great. Cheers![/quote] I play the 100w version of the Ashdown 5-15 and it's capable of a fair bit of loudness, but if you say you've used a 100w Ampeg and that wasn't enough then I would aim for more a few more watts and or 2 drive units. You'll probably find that most of the Harmony Central reviews are old and some refer to the earlier 65w incarnation of the 5-15, so they're not the best guide. I'll be back. Balcro.

[quote name='neepheid' post='423229' date='Mar 2 2009, 02:21 PM']I can only speak for myself here but I have worked behind a bar in a live music venue with earplugs in and had little trouble hearing customers. It's no more difficult with plugs in as it is with them out - the attenuation applied by the plugs applies universally, you hear everything the same as you would, only quieter. The customer's voice is drowned out to the same degree by the music with or without plugs. You still have to lean over the bar and cup your hand to your ear. You may well have a different experience from your times behind a bar and I respect that, but I don't take kindly to a blanket declaration of something being "mad" when I for one have found it beneficial and have the experience which backs that up.[/quote] Hi neepheid, I intended that to read as "mad" from the management point of view. Perhaps I should rephrase the original to say "[u]on its own[/u], simply telling the staff to use ear plugs, is not the best solution". If the ear plugs worked for you, great. I haven't worked behind a bar, but I have been party to framing a noise control policy in a club after the bar staff, not the management, rejected the idea of using ear plugs. Balcro.

[quote name='andrewrx7' post='422913' date='Mar 2 2009, 09:34 AM']I remember reading about sound limits a while ago on this forum, but we had our first experience of it on Sat night. Just getting set up, when the manager comes along and says you have to move one of the PA speaker as it is pointing towards the bar. Apparently, new regs last year state that noise behind the bar cannot exceed 80dB. Health & Safety at work and all that…..apparently he has been checked up on a few times to! On top of that, the police were hanging around all night, and gave him a couple of nods to keep the noise down. (Just to say we are not an overly loud band, by the way!). What a ridiculous situation. I can understand the point about the barstaff – that makes sense and personally I would not argue against it – but live music venues should really put a bit more thought into how to position a band, and not just “shove in the corner” attitude. What was pretty stupid on Sat night as we were loading back up at 12.30am, was that opposite us was a students residence apparently – clearly a party (or parties) were going on – loud music, shouting etc….and next to that, was a night club – pounding bass etc……so why pick on the pub? Bet the police and environmental health weren’t hounding the students and the night club “to turn it down”, were they! I would guess that if the 80dB level behind the bar is actively enforced, then there will be a fair few places simply giving up live music.[/quote] The manager completely misunderstands the law, even as it's written. [u]There is NO H&S law[/u] stating the noise behind the bar cannot exceed 80dB(a). A packed modern pub probably exceeds 80dB without musical eneterainment. It's completely bonkers. 80dB is known as "the first action level". That's the point at which the management of the premises/pub/venue etc., has to carry out an assessment. Nothing more. It doesn't even apply until they get 80dB continuous for 40 hours a week!!! Once they've carried out the assessment, they only have to decide if there is anything that should be done. (They could do what's in the next paragraph). At the 80dB stage they do not even have to supply PPE. It's mad giving bar staff ear-plugs. They have enough trouble hearing customers in a packed pub anyway, without someone sticking a foam plug in their ears to make life more difficult. They can't all lip read. The simplest answer is to rotate the staff, so that they get a comfort/noise break, perhaps every hour and go to a quiet place in the building for 10-15 minutes and or go and do other work elsewhere in the pub. Balcro.

[quote name='Marcus' post='421491' date='Feb 28 2009, 06:57 AM']I was so bored with their performance I managed to notice that Adam Claypool is now using Aguilar (Looked like a DB750 with a DB410 15) How's he get such a crap sound with such nice gear ?!?!?[/quote] I think the whole studio sound is so compressed to make it broadcastable. Oh, and to let Bono stand out even more, even if he has to end up lying across a few laps. Pathetic. Boring wall of sound songs: I turned the sound down so as not to disturb the cat. PS. Did I see David Eden gear in the Edge's rack. Balcro