itu
-
Posts
3,357 -
Joined
-
Last visited
Content Type
Profiles
Forums
Events
Shop
Articles
Posts posted by itu
-
-
3 minutes ago, Grangur said:
...500K pots is more treble/aggressive sounding.
Thank you Sir, your description is what I was after.
-
1
-
-
Size does not matter but the track does. The most common and cheapest tracks (and pots) are carbon. They are noisy and their lifetime expectancy is pretty limited. If in need for something far better, consider conductive plastic. My suggestion is - for top quality - blue or black Bourns.
Linear works with the tone, yes. If you need just slightly clearer tone, use 500 k for all three. Then pickups see around 170 k load. If your choice is 3 x 250 k, the load is 80 k.
-
No bodies, only necks, sorry. But very good necks!
-
1
-
-
Some American marketing stuff on Bergantino: https://www.bassplayer.com/gear/review-bergantino-forte
and few others:
https://www.bassplayer.com/gear/epiphani-releases-the-1000-watt-piccolo-999-bass-amplifier
https://www.bassplayer.com/gear/form-factor-audio-introduces-the-bi400-and-bi1000-amplifiers
The predecessor from Mesa is included here:
https://www.bassplayer.com/gear/max-mini-a-roundup-of-ultra-lightweight-class-d-mini-amps
-
1
-
-
Two words: Status.
-
With a rotary switch you need one hole less. 2 cents...
-
Mr. Devine is so fun and his videos are well made as well as entertaining.
It would be far more interesting to see basses with similar pickups and electronics, so that the tester could give the wood a chance to talk. Maybe. Stringing should be equal. So waiting for the test with ten different *one pickup brand* equipped instruments (like SD, MEC, EMG, Delano, bartolini, Nordstrand, or...).
-
Well, any passive component put to the high impedance (hi-Z) signal path naturally affects the sound. Isn't this a no-brainer?
Guitarists put treble bleed capacitors to their guitars, because that volume pot alone changes the load to the pickup and reduces high end reproduction when turned down. If you use an active signal path, the load is practically eliminated and the pots do not change your sound. The change from hi-Z passive electronics to lo-Z active gives the possibility to use adjustments that do not affect each other. Blend should not be a tone or...
-
A valve (tube) is very close to an electro-mechanical component because of the size, parts and manufacturing tolerances. It is no wonder that the parts differ that much from each other within one model. This is actually very much the same with nearly any other electronic component.
Now I simplify a lot, but overall you might say, that the system works through choices of manufacturing and testing:
Plain and simple resistors have nine (yes, 9!) tolerance classes: from 0.05 to 20 %. Batches have certain tolerances and the process has many parameters. Accuracy has its price. There are these manufacturing lines that produce a variety of carbon resistors without specific resistance. Then these parts are classified and they get their markings. Remember: a cheap 1 kohm carbon film resistor with 20 % tolerance may lead from 800 to 1200 ohm unit - the difference between these two is 400 ohms! Don't talk about precision, talk about price. And how many of these cheapest resistors your amp had?
It is not only the single valve that affects the performance. It is the parametric jungle that the signal sees while wandering through the different (sic!) components. If you need to copy some design accurately, beware that it is expensive. Even digital systems suffer from the same issues, because parts from resistors to microprocessors all have the same production issues. Some microprocessors are faster and still they come from the same silicon and the same process.
Please take a look at Claude Paillard's tube "factory". Notice those simple tools and give a thought to tolerances.
-
...or was it the text?
Have to admit that this time the duel between the brown and the BW wood goes to the body. The contrast and that red stripe in the neck... wow.
-
2
-
-
Try well known brands like Weller, Hakko, Metcal etc. If you have any money, your choice is a soldering station. Modern tins that do not contain lead (Pb) are harder in the process. I suggest to find one 500 g roll of 1 mm tin-lead (60-40 or even better 63-37). If possible, buy two rolls. That should be enough for years to come.
If on a budget, you may find a simple 25 - 50 W iron, but as an example, Weller's basic models are attractively priced at around 100 €:
More sophisticated Metcal has heftier pricetag, prepare to pay around 500 € for a good station.
-
38 minutes ago, fretmeister said:
Tomorrow will be the first time in about 8 years that I've used a 4 string. There will be wrong notes!
So you upgraded from a gutbucket...?
(...taking me coat...)
-
1
-
-
My choice for years has been Glockenklang Soul combo. Sound is perfect. Weight is not, 38 kg = 83 lbs. So I took them apart and as the amp is 11 kg, the set is far more convenient to carry around. I had to replace the elements because of an accident and guys at G. offered me an option of neodyme elements. The cab is now 22 kg and far easier to carry.
So I have two cabs, that Soul 2 x 10" and an Alusonic 2 x 12". They sound different. The other is tight & nearly sophisticated (follows me very well) and the other is a bit more rough & rock.
As you have found a pair of nice sounding cabs, I would not part with them.
-
No, I just mess things up and introduce you to the Hypergravity. If you want to tweak a week first and maybe then get a decent sound... but live sound adjusting possibilities are far better than with Spectre. Sorry, Spectra.
-
1
-
-
You have over 7 500 choices, so some filtering is needed. Let's make a guess that your cable is 1/4" thick. Then choose a shrink tube that will be less than that after heating it up, like 5.5 mm or so. Place an order.
I would not use the glue version, it is overkill. If the tube is clear, you can put your initials or whatever under that.
If your patch cables will be steady in place, you may consider omitting the tube. If they move even just slightly, or you need to bend them a lot, the tube is good.
-
A tiny wire may just disappear in the air (to tape, under some part or so).
Now draw the schema to understand the signal path. Then find all wires and name them. Then it is easy to understand what is happening down there.
-
I would add that the high end response is nice if soloed. But in a bigger band context it does not matter so much. Other instruments take that space from us bassists. We are the band pass filters (BPF) that do not get the lowest nor the highest. Oh dear...
-
Find the lightest you can a put a capo to shorten the scale?
-
It does not look impossible at all, you just have to find out the signal path and it will open up. Someone able to do nice solderings will be your dear friend. And sorry, I certainly live too far from you.
-
In the first picture the ground wire is missing from the output jack. Probably the battery wire, too.
In the second picture I can only see that lower left corner, where the (Volume?) pot has no wire in the lowest leg on top of the red wire. There has been something soldered to it. The black wire from the output jack - where does it go?
That third picture has a shielded wire. The inner one is most probably signal and the outer mesh is a ground. Where from, where to?
From the fourth I may see (?) that the missing wire (referring to the second pic) and the lug are soldered to another lug of the pot. Is this Volume?
The output needs to have three wires (in case of active bass): Ground, -9 V and the connection to the preamp that connects the 9 volt battery minus to the Ground (and the preamp starts to work). Naturally the preamp needs the 9 volt plus connection.
If you take some time, try to find which are the signal cables from the pickups. They should go to the Balance/Blend pot and then to Volume. From Vol the signal goes to the preamp input. There should be few wires from the preamp to B&T (dual?) pot. Then you need a few wires that are connected to the ground. Every part has something to do with the ground, so take your time and find the connections.
Use permanent pens or tiny paper stickers to name them and you can conclude the signal path. Basic idea is:
pickups - Blend - Vol - preamp (B&T) - output
Bass and Treble are in a "side chain" so the preamp has one signal wire going in and another going out to the output jack. It is probably close to this one (or another similar setup):
https://shop.warwick.de/en/Parts+for+Instruments/Parts+for+Basses/Electronics
Hope this helps.
-
Some professionals have told me that with fretless they prefer Nickel because of the middle growl.
My choice has been stainless for ages. Roundwound for fretted and fretless. Flatwound only for double bass.
-
2 hours ago, Al Krow said:
...QSC K12.2 which has 50Hz to 20kHz freq response at -6dB (to take @itu's helpful guide) says it's a 2000W power module. Well further digging and that's a peak rather than an RMS or AES number. What's the typical conversion of peak to RMS - would that be more like 800W RMS?
Just a rule of thumb: multiply RMS by 1.4 - 2 depending on the amp. I suppose that the QSC is able to push around 1 - 1.2 kW RMS.
Remember, that there may be several amps in the box. Simple addition of the powers does not always give very good idea of the perceived loudness level.
-
1
-
-
3 hours ago, itsmedunc said:
The advantage of FRFR for me is the fact that the effects I use sound far better. I had gone back to using two bass rigs. One for straight bass and one for effects only. I use a delay that needs a lot of top end, which sounds muddy and gets lost with only one bass rig.
I have a far more simple solution. I added a X-over to my effects and the sound changed a lot. Now the low end under 400 Hz has no effects = no mud. This way my rig is bass - effects - amp - cab. Biamp or two amps might be the ultimate, but too big and cumbersome to carry around.
I understand the choice of using a PA speaker very well. I have had the chance to try our band's JBL PRX 735 that has really convincing and truly powerful sound. It is almost 4 feet tall... just too big to carry around in my small and old car. I do like that different sound of a PA box but it just isn't my thing out there in the bigger venues. And only seldom I have connection to the PA. This means that I need a powerful and compact system and traditional amp & cab is fine for me.
-
1
-
-
32 minutes ago, Misowaki said:
For regular playing, yes, the amp is fine. To properly handle the extra lows I'm feeding it, I need more power.
I was thinking that your current amp is just fine, but if you want more of that lowest end, there is nearly no limit... Your choice is probably something like a 900 W class D amp. Flats and very low end means really big power levels. It is not very much louder, just different.
-
1
-
Fun little 30 bass comparison
in Bass Guitars
Posted
After listening - not looking - the video for several times, I count out all Fenders and Fender lookalikes, although that Exotic was pretty good and Sandberg very good. I may be a bit to precision sound, as that Spector was amazingly good in her league.
Many American brands had certain zing I did not like, but also this particular Status was a disappointment to me. On the other hand that Alembic was a killer and Pedulla and Zon were just OK. I think that if money was not an object, from these ladies I would have chosen Marlowe DK and that off-black MTD. Alembic, yes... Why on earth was that Vigier white? Roscoe was the best in the sparse league of fretlesses.
Now, if I had the chance to collect individual details from this flock my bass would have: The sound of that Alembic. The ergonomics of the Spector. The carbon of the Status. The paint of the dark MTD. The design of the Vigier. And wide neck 5... which just does not exist.