SH73

[quote name='MoonBassAlpha' timestamp='1461861449' post='3038318']
Isn't that an Electrovoice logo upside down on the dust cap in the photo?
[/quote]
The image is for illustration purposes only.

I use Focusrite 2i2.It came with Ableton live 9 lite. Pretty cool once you learn how to use it.
I use it on Windows 7 but most you tube lessons are with Mac.

I'm a newbie when it comes to music and recording, but may give this a go!

Nice link

[quote name='4stringslow' timestamp='1462202665' post='3041055']


Hardly extortionate in the grand scheme of things if you really need one. Buy a dozen for the same delivery cost

Or try to find a decent high street ironmongery.
[/quote]
Found three in our town

[quote name='hubrad' timestamp='1462202378' post='3041049']
Get hold of the smallest one you currently have, and give each side a wipe on a sharpening stone.
For light duty such as saddle height it's worked a treat for me if I can't lay my hands on an imperial tiny one but have a few metric ones around.
Otherwise Ebay is your friend in this..
[/quote]
I'll give this a go.

[quote name='4stringslow' timestamp='1462201240' post='3041036']
http://www.canford.co.uk/Products/55-587_HEX-KEY-0.05-inch
[/quote]

£10 delivery

Anyone knows where these can be purchased from? It's for badass bridge II.Amazon only sells sets with extortionate delivery.E bay is long delivery time.any suggestions?

Which EB are they mate?

[quote name='ezbass' timestamp='1462031206' post='3039810']
Useful link, thanks for posting. It would've been nice to have had the new EB Cobalts included as these are what I'm using at the moment (I previously used La Bellas) and his opinion on the differences he perceived would've been extra useful.
[/quote]
How do you find EB cobalt?

Strings are like Christmas cards. The shelves at shops are flooded and you're confused unless you are happy with "that'll do" approach. I have come across this review. Hope it may assist to those as confused as me. Hope not too biased.

http://fenderbassplayer.com/flatwound-string-reviews

[quote name='Twincam' timestamp='1461718048' post='3037142']
Here is an easy way to set up a bass, with household tools that should give you a very playable bass and a pretty standard setup.
Tools need are a 4mm or 3/16 Allen key for the truss rod, a 2.5 mm allen key and a 2mm allen key. Also a small allen key or small flat head screwdriver for the bridge saddle adjustment. Finally a standard business card like the ones from a taxi company not a plastic credit card etc they are too thick.

Of course if you can invest in the correct tools but this method is fine for getting a bass in playing condition, for someone with limited tools.

First tune your bass normally then fret at the first fret and then with your elbow of your right arm hold down the e string at about the 17th fret. This is so you can check the relief of the neck, place the business card corner first in between the 7th fret of the E string while its still held down at the first and last fret. It should slide in nicely if it doesn't fit in as the gap is too small then the neck is too straight and needs more relief, if it fits in but there is also a gap the neck has too much relief (too bent). the card should just fit in there nicely maybe a very slight drag.
Business cards tend to be around .010 - .015" in size which is around about the average in most factory specs for relief. If you tighten the truss rod turning it right it will make the gap smaller, left for increasing the gap. This is of course while your looking at the nut right on if your holding the bass tightening looks like your going left and vice versa!. Assuming the truss rod access is in the headstock.
Ok so turn the allen key small turns at a time, then check the relief as above, remember each time you tighten or loosen the truss rod you must put the A string back and re tune all the strings so you get an accurate reading of the relief. Its time consumming and can sometimes be a pain in the bum but has to be done right.

Once you have the relief set, then we adjust the bridge saddle to alter the final string action (height).

There are a two different areas to measure the string height at the 12th and 17th fret i suggest if you play hard we go for the measurements at the 12th if you play lighter the 17th fret. There is also of course the fact nearly everyone likes a different string height but, 2.5mm - 2mm is about standard. To measure the height get your 2.5mm allen key and i will assume you have chosen to measure from the 12th fret. and without fretting the string measure the height of the E string from top of the fret to the bottom, and adjust at the bridge saddle so again the allen key slides nicely in and out with very slight drag. Make sure the bridge saddle is level it does not need to be angled, also while taking measurements make sure the bass is in relativly the same position you play, as necks move slights amounts at different angles. Ok So once the E is at 2.5mm you can set the A, D and G in this way the final G string should be 2mm. So maybe E and A could be 2.5mm and D and G 2mm in height from the top if the 12th fret to the bottom of the string.
And again after every single small movement of the strings you make at the bridge every time before the height is rechecked it need to be put back into tune.

The bass other than now needing to be intonated should be in very reasonable playing condition. If you dont have a 2.5mm allen key a 3/32" one gives you about 2.4mm. Feel free to set the string height higher or lower, but using allen keys or even drill bits do a good job of measurements. 4mm is the heights action that could be considered playable, under 2mm is low but the lower you go the more buzzing you might get if you hit the strings hard.

Buzzing from frets 1 to 7 indicate too little relief, buzzing in the higher frets indicate to low an action, buzzing all over might indicate just that your playing too hard for the setup.

Then you would set intonation, and recheck the string heights (adjust if needed) if the intonation was well off it will change string height on adjusting. Sometimes you have to go back and forth a bit, setting the action and intonation.

I could write a full on essay about various other set up problems and remedies. Watch setup videos, read my little guide and hopefully it will all make sense. Hope what ive written helps.
[/quote]
Thank you 👍

[quote name='Norris' timestamp='1461879771' post='3038526']
It's a pretty hefty thing to have shipped from Europe though
[/quote]
Not really. There are lots of companies that offer cheap shipping.

[quote name='Dad3353' timestamp='1461878376' post='3038516']


Yes, it's called 'experience', and just to boost your motivation, know that it's the first forty years that are the worst, after which things sometimes tend to get (very slightly...) better.
[/quote]
In that case I'm Ok!

Thanks everyone.I suppose it takes practice to get it nearly spot on.

[quote name='Dad3353' timestamp='1461745982' post='3037231']
Again, just a generalisation, but if it's the cab I want to capture, it's not the cone I want. I don't listen to bass with my ear up to the cone, so I don't try to capture that way. For guitar, it's a bit different, but even then, I'd be micing from a distance (usually 1 m or so...), and maybe, just maybe, also adding in a specific 'cone tone' with an E609 suspended from the cab top; especially for a sealed cab. I suppose it depends to some extent how you're playing your bass, too..! If you're playing like a guitar (lots of upper mids, soloing etc...) it may make sense. How do you cope if there's a tweeter in the cab if the cone is close-miced, for instance, or if the cab is ported..?
No, for bass, I'm quite careful in the mic placement, but would do it with trial and listening, rather than any measurement of distance from cone. It may turn out to be centred, but I wouldn't be looking specifically to centre or not. I just listen first, and place the mic where it sounds best to me.
I'd be more concerned as to why the DI component is, it would seem, unused. What's wrong with it that you can't mix it in..? It's not essential, of course, but I'd need a pretty good reason for not wanting any at all in the mix.
[/quote]
I have tried 50 cm today and the result was outstanding

[quote name='charic' timestamp='1461831990' post='3037923']
One of the best sounds I managed to get while I was at uni (without using some of the ridiculously price mics...) was a AKG D112 Close and Central and a Large Omnidirectional 1m out. I wouldn't do it in a untreated room though.

Maybe try a AKG D112 @ 6" and a Rode NT1A @ 1m
[/quote]
I recorded bass from about 50 cm from speaker. The outcome was outstanding.

[quote name='Norris' timestamp='1461865810' post='3038364']


Yes. It was pretty powerful for its size and led a couple of friends of mine to seek one out for themselves. However, compared to the Rumble it is a little muddy and lacking in definition. It was a great amp and served me well (Peaveys are usually pretty bomb proof) but the Fender is half the weight, more refined - but not overly so... and plain has more balls on tap!

Peaveys are (usually) good amps
[/quote]
I own fender rumble 100w.Very happy with it.

[quote name='Norris' timestamp='1461849968' post='3038187']
Before I got my current Fender Rumble 500 combo I used to use a Peavey Databass. It's very similar to the photo you posted and uses the same 1x15 BW speaker. I reconed it twice over its working life. It's a fairly simple matter of unbolting the big magnet from the old speaker and bolting it onto the new one.

The cones have undergone a few revisions. The last one I fitted was definitely a later revision than the two older cones
[/quote]were you overally happy with it?

[quote name='Phil Starr' timestamp='1461828428' post='3037884']
It's Peavey

BW is the Black Widow series of speakers, Peaveys best and still up to decent modern standards.You can also replace all the working parts in a single basket change. Parts are still available and it's a simple DIY job. The only problem is that you can buy a new speaker from Eminence and the like for the same price or less.

I've found that BW speakers o this vintage have problems with the adhesive used to make them breaking down. The dust cap dome in the middle of the speaker can partially come away and the cone can separate from the corrugated surround. It can be successfully stuck back together with Copydex.

Have fun
[/quote]
I'll have it checked out first and hopefully I fit it with a light weight speaker.

[quote name='GCYPbass' timestamp='1461763657' post='3037396']
Very good purchase. I have 100 w combo rumble for rehearsals and they sound great.
[/quote]
Same here, can`t fault it.

I `ve got one of these collecting dust. It has the original Pavey speaker (the picture is from Google images, not my amp).
I think (top of my head) , it`s Pavey BW 115? At the back of amp it says 400w, again not 100% certain.

I bought this around 1990 as a teenager and it served well. It was so loud that on its own it was enough to gig in a medium sized hall. When I say hall ( that can fit in 1500-2000 people). Anyway it would play through a 4 hour gig with multiple bands. I lend it once to a band who I started out with when we were 16 and a person who ran the community centre "borrowed " it and used it as a cab at a disco night. Since then the sound has been distorted.

Fast forward, I tried it out in 2011 and it still works, so I am thinking having it delivered to me from Europe and take it for a repair. I have checked the speaker before many times and I could not see any visible damage. I looked at the closed circuit board and nothing obvious. Hope it is only a minor fault and it will be up and running one day. Anyone used a similar amp from circa mid 80`s?

[quote name='roman_sub' timestamp='1461747321' post='3037241']
More pricy, but I'd look into Sennheiser 421. Sounds killer on bass cabs and blends nicely with 57. I like to have one off-axis, and one on-axis... achieving EQ differences via different blends
[/quote]
Rather pricy but good reviews.Do you use two of these?

[quote name='Dad3353' timestamp='1461745982' post='3037231']
Again, just a generalisation, but if it's the cab I want to capture, it's not the cone I want. I don't listen to bass with my ear up to the cone, so I don't try to capture that way. For guitar, it's a bit different, but even then, I'd be micing from a distance (usually 1 m or so...), and maybe, just maybe, also adding in a specific 'cone tone' with an E609 suspended from the cab top; especially for a sealed cab. I suppose it depends to some extent how you're playing your bass, too..! If you're playing like a guitar (lots of upper mids, soloing etc...) it may make sense. How do you cope if there's a tweeter in the cab if the cone is close-miced, for instance, or if the cab is ported..?
No, for bass, I'm quite careful in the mic placement, but would do it with trial and listening, rather than any measurement of distance from cone. It may turn out to be centred, but I wouldn't be looking specifically to centre or not. I just listen first, and place the mic where it sounds best to me.
I'd be more concerned as to why the DI component is, it would seem, unused. What's wrong with it that you can't mix it in..? It's not essential, of course, but I'd need a pretty good reason for not wanting any at all in the mix.
[/quote]
I've tried to mix the di but still not happy with di sound.It's not for me.
Thanks for reply

Wow 1 metre.I read it's between 1-3 feet so 1 metre sounds about right. No bleed for me. The best sound I get is placing the mic just off centre. About 3 inches away. I placed the mic pependicular to the cone with good results. Would you place the mic in the centre one metre away?
Thanks dad☺