ShergoldSnickers

[quote name='waynepunkdude' timestamp='1325959892' post='1490476'] After my huge scale down [/quote] Jeez Wayne - where's it all gone? Your heating bills will shoot up with all that extra space to heat up - that room must feel like a draughty warehouse. How's the Stingray?

[quote name='wateroftyne' timestamp='1325859306' post='1488898'] ....clear plastic ramp still in it's packet (what are these for, anyway?)..... [/quote] A finger ramp I presume? If so, it aids.... well, fingering and hence tone. Apparently. The idea is that you get less digging in of the fingers, as you aren't letting them get down between the strings as much, as the ramp stops how far they go. This is supposed to improve the tone - less attack that quickly decays. Turn the amp up to compensate and you get a note that appears to sustain more. [url="http://garywillis.com/pages/bass/bassmanual/theramp.html"]Explained here[/url]. I have noticed it's easier to play my new bass with the ramp than without - but everyone's different.

I'll defer applying the anti-climax ointment. That bass is a bit damn good - looks very well in that case. I think we may need some sound clips... Excellent work that man.

Not a Sandberg any longer. Swapped for a sand bag at Birmingham - I saw WoT that evil Machines was up to.

Take a look at the Genz Benz Streamliner range as well. Capable of clean or overdriven with three pre-amp valves feeding a lightweight Class D power section. Very suited to the S12T, having heard the combination. The streamliner 600 should be within budget.

Now overdosed on Victory Vs. Barely conscious. An improvement. We shall have to see WoT tomorrow brings eh?

The tension is getting to me now. I'll have to break out the big tin of vintage Victory Vs and chomp myself into a stupor.

I do hope we won't all be disappointed when we find out.... we wouldn't want any anti-climaxes now. This is your chance to placate any over zealous expectation we might have WoT.

Did The Adelphi in Hull last night. Our keyboard player Graham Beck did a spot with our drummer Martin Hyde - including a daft swing version of 21st Century Schizoid Man. Excellent. Also included was a song about the worst waxworks museum in the country, which is in Yarmouth apparently. Also there were 'Happy Endings' a fantastic acoustic trio - normally four of them, but one is laid low after being hit by a car. . Think female version of Turin Brakes, with a male bass player Dan who played a gorgeous sounding acoustic bass guitar. Sublime harmonies and a cut above the usual. Fear of Bicycles were last on and we tried out mixing poetry - local poet called Andy Fletcher - with improvised music for a couple of tracks. It actually worked . This was also the first outing for the new bass and it sounded brilliant, so well chuffed there.

If it comes with the strap then it needs to be adjustable. Looks a little high for me.

Hi Fred - I've got the Boss 10B. Strong points are: Quick and easy editing of existing patches, and it is relatively easy to move patches around within banks and between banks to get logical groupings. A lot of flexibility when you go beyond the easy patch editing. It's still not difficult, but there is a lot of choice so it helps to know what you are aiming for. There are very few sound modules that don't work well immediately without a lot a of coaxing. Good sound quality. I don't feel the life is getting sucked out of my basic sound. The weak points are: The synth module does take some coaxing even to get a half decent sound. It can be done, but you have to adapt your playing to get things to work. It can take some time to get a good distortion/overdrive sound. Once you've got it though it is very good and doesn't affect the bass end it you get the right settings. The expression pedal doesn't quite appear linear in it's operation - even after calibration. I've adapted to this. A few completely useless patches included. I've taken the time and trouble to get a good basic sound first using the compressor with a tiny bit of chorus, and then use this as a template for adding other effects to create my patches. So after getting the basic sound, I duplicated a it a number of times and then added a sub octave for one effect, a T-Wah for another etc. This gives a consistent underlying sound to all the patches I've created. Overall I'm very happy with the unit and I'm still exploring it's depths even after two years.

With both pickups on, there will be some phase cancellation, usually leading to a more 'scooped' sound. This would cause a drop in output across the mids. Is this what happens? Or is the drop at the bass end? Or both?

[quote name='Bill Fitzmaurice' timestamp='1324748789' post='1477607'] That's a common misconception, and isn't true, as transient response is mainly a midrange issue, while porting doesn't affect the mids. Some vented cabs sound good, some don't. The same applies to sealed. One can mess up with either topology. The main reason to use a sealed cab or vented cab is the drivers contained within. Most drivers today are made with specs that work best with vented cabs. Most drivers from 40 years ago were not. Vented cab technology wasn't well understood prior to about 1970, and it took driver manufacturers about ten years after that to get up to speed. [/quote] Yes, I found conflicting views on that and was wondering if we were back in that strange parallel world where 'larger drivers sound slow' etc. Fast transient response means a cliff-like rise in amplitude, something that can only be accomplished with a small and light driver - a mid or treble driver. Yes, it makes sense.

Generally, with a sealed cab the bass starts to roll off earlier, but with a gentler slope, compared with a ported cab. The bass end of a ported cab will tend to give more output to just below it's port resonance frequency, after which the bass output rolls off quickly. Due to the way box sizes, speaker resonant frequencies and speaker efficiencies pan out, a ported design will usually give greater bass output, and with a more extended response. There will be exceptions to this for particular mixes of parameters, but generally it holds. Some will argue that s sealed cab will give more accurate bass, even if the level is down on that a ported cab would provide. The transient response of a ported cab is compromised through having to use the port resonance to get the extra output. Apparently.

There's no other place on the web like it that's for sure. Possibly because there are no other members like the ones BC has. Anywhere. The hard work keeping it running does not go unnoticed, so thanks to Ped and the rest of the team. If you want a 'three cheers' that's extra. All the best - Snicks

[quote name='subdude' timestamp='1324283052' post='1472433'] hi, .....since i live in kenya.... [/quote] Yes, bit of hit on the postage there .... but it is possible to get pickups remagnetised, and I was more than happy with the way mine turned out. It is possible to reduce the magnetic field by physically jarring a magnet, but I would think it would take a lot of abuse to do this. Heating is another way to reduce their power.

I hope Anders will forgive the intrusion, but I'm after one (12AX7 or ECC83) that will add some smooth and gentle crunch as an alternative to the great clean sound I get from my Eden WT550 as it stands. Experimenting again. The valve in the Eden is a stock Ruby 12AX7AC5HG.

I had a stock Shergold Marathon pick-up remagnetised by Andy at Wizard Pickups two or three years ago. Did the job and didn't charge the earth. Very reasonable in fact and turned it round quickly. [url="http://www.wizardpickups.co.uk/contact.asp"]Contact link here[/url] - worth getting in contact if it ends up needing to be remagnetised.

Would I buy these as recorded tracks?.... maybe not, it's not what I'd usually listen to at home. Would I gladly pay to see this band live, knowing you were going to get a great evening of music and come home buzzing after seeing some great musicians who play like they really enjoy it? Damn right I would.

[quote name='brensabre79' timestamp='1323868120' post='1467952'] I was told once that valves tend to amplify odd harmonics more and transistors favour the even harmonics. [/quote] I thought it was the other way round generally. There are exceptions though. With a class A valve pre-amp you do get even order harmonic distortion, but with a class AB push-pull valve power section you get mainly odd order harmonic distortion. Tape saturation favours odd order harmonics. All very odd, as it is often quoted that the even order harmonics are the ones needed for 'warmth' to a sound.

Been trying to think through the mechanics of linearity breakdown; does non-linearity start when: 1. Reaching the useable excursion limits - I would think the suspension would start to exert a stronger resistive force as the suspension stops being as elastic at it is when further inside excursion limits or at rest. 2. The voicecoil is starting to move out of regions of full strength magnetic flux - again at either end of the excursion. 3. Heating of the voicecoil producing more resistance. 4. Port airflow becoming very turbulent. Can't think of any more of the top of my guesswork laden bonce - but this is why I ask, to find out. Fascinatingly geeky stuff, love it.

[quote name='gjones' timestamp='1323538243' post='1464404'] I know Kevin. He also plays with Eddie Reader and Karen Matheson, among others. I'll pass on your comment I'm sure it will be appreciated. [/quote] It was massively appreciated at this end. The kind of player that shows how expressive and delicate - as well as powerful - the double-bass can be. Not said lightly.