ShergoldSnickers

[quote name='bucko' post='1095631' date='Jan 19 2011, 08:35 PM']Thanks for that bit of info Shergold,as Idont know much regarding ohms etc. Sorry Ishould have said its the 2x10 version I have. Cheers.[/quote] Aaaahhhhhhh - the 2 by 10 combo is already set to have the speakers give a 4ohm load. I'd leave it as it is, and find a 4 ohm cab to go with it. Whilst the wattage available from the amp will drop, this should be more than offset by the increased number of speakers radiating sound. Doubling the impedance from 4 to 8 ohms by adding another 4 ohm cab will give the amp an easier time and would not affect the perceived volume too much if this were the only consideration. However, dropping the volume is the opposite of what is needed, even if only slightly. However, by adding more speakers, we are adding more radiating area. Put a ruler in a vice and twang it - not very loud. Now clamp the ruler to a table and twang it. Much louder, as the table has increased the area radiating the sound. It's the same with adding speakers. So, you'll lose some volume due to the impedance rise, but gain more than you lose by increasing the number of speakers. The question is... is the gain enough? Not sure if I'm totally honest as I've never tried this! Another way round this is to pick up another Nemesis combo, and slave it to the one you already have. Much louder now. As it happens, (warning: shameless plug) I just happen to have a 1 x 15 version available, once the transformer has been looked at (it hums too much and needs sorting).

Just working out how quickly I could delete all my YouTube stuff.

Very, very interesting. Particularly linking two together (thanks 51m0n for pointing that out).... Hmmmmmmm.....

[quote name='bucko' post='1095140' date='Jan 19 2011, 01:48 PM']To add say a 4 ohm ext cab to my Nemesis nc 250 combo,does ext cab have to be wired in series as the speaker ext output is wired in series, or can I use a parrallel wired cab?.Also would it be safe to use a 2 ohm cab to get close to using full wattage from the combo. Many thanks,if anyone can give me advice on this.[/quote] I assume you have the single 15" speaker version of the combo? Adding a 4 ohm cab will give you a total of 12 ohms load, and a 2 ohm cab a total of 10. It's the combo that controls the wiring to the extension cab. It adds in series whatever is the nominal value for the particular extension cab being added. To get a 4 ohm load - the amp section is capable of delivering into a 4 ohm load, the extension jack on the combo would have to be rewired. This is not as straightforward as it may seem, as the jack has additional components - or so I'm led to believe. Any decent techie should be able to work out what is going on and rewire to parallel. Adding an 8 ohm cab would then get you the 4 ohms. Hope this helps.

A friend of mine I was at school with in the 70s had a cream Jedson Tele Bass. Yep, dire, but at the time we thought it was brilliant.

The sound quality is pretty bad - there are moments where the distortion makes it sound like it's all off key. I know it's the distortion throwing up all sorts of wrong harmonics. Not everybody viewing this will. However.... what does come over is the musicianship of the band, you can tell the underlying performance was correct ('correct' doesn't even begin to cover it in my humble opinion ). Quality will show itself, and it does. I wouldn't worry too much about the video content - it's a typical unfocussed (in all ways) snapshot. Everyone will get that.

[quote name='lojo' post='1092684' date='Jan 17 2011, 04:22 PM']Obviously woods have specific acoustic tone, which can be deep and beautiful or hollow and dead, but I have often wondered how, if at all, this can find its way into the string vibrations and therefore into the picked up signal[/quote] The key is the relationship between the pickup(s) and the strings and their being fixed* to a flexing mechanical structure. The body vibrates, imparting movement on the pickup. The string vibrates, in relation to the pickup, which is also moving because the body is vibrating. The neck vibrates and flexes, affecting both the strings and the body. And so it goes round in circles, each part affect the other. It's complex stuff. The internal structure of the woods used will affect the modes of vibration, and how each part affects the whole structure. Whether this is distinctly audible enough to impart enough of an instantly recognisable character will depend on the design of the bass and the woods used. *Fixed may be the wrong word, as in some designs they are loosely fixed, in others more rigidly so. This will affect the microphonic nature of the pickup, and again how much body vibration is transferred to the output.

Just a great idea. For all sorts of reasons.

Couple of drops of washing up liquid in the water if boiling them. Watch out for the water frothing over the pan sides though! Gets 'em clean as a whistle. It's worked on all the strings I've used over the years, roundwound, groundwound and flats.

This is how I understand Crest Factor. I may be utterly misguided. Imagine a drummer doing a constant roll on the snare drum. That establishes a sound level that is fairly constant. Now if he or she were to introduce rim shots every now and again, there will be a peak increase in sound level per rimshot. Make these rimshots louder and you are increasing the crest factor. The peak level in comparison with the 'average' level has increased. With crest factor, it's the rms level and peak levels that are compared in the form of a ratio. I guess a compressor/limiter reduces crest factor.

One day..... I've got two bands marked out in particular - Nearly Dan and... hang on... nope [s]three[/s] [s]four[/s] five bands marked out in particular, and as it happens all [s]three[/s] [s]four[/s] five* have bass players mentioned in this thread. So.... Nearly Dan Silddx's bands (2) Clarky's bands (2) Yep, one day I'll get to see you all. Combined gig? I'd die for that. Well afterwards anyway * Spanish Inquisition territory here

This has just happened to me enquiring about a used car. Not exactly something I buy during an idle moment, and it's an awful lot for me to fork out, despite being peanuts compared with a new motor. A reply (from a main dealer) would have been nice all the same.

[quote name='Marvin' post='1077183' date='Jan 4 2011, 12:11 PM']Anyone else noticed some prices have rocketed. I've got a Fender Rumble 350 on its way to me. Before Christmas a lot of the well known online retailers were selling these weighty rocks for about £350. Now they're going for between £410 and £470ish. I've also noticed some of the Squier range of basses have seen a good £30 increase in price at some retailers. Just blimey! You may also notice that I don't look at expensive gear [/quote] That's most of the battle. Not looking at it. Heard good things about the Rumble - let us know what it's like.

I rather like the idea that having made cabs that show little obvious colouration, Alex is now deliberately putting colouration back in as part of the design - the difference is that it's now controlled and part of the design goal, rather than by accident. Other cab manufacturers with any sense will be watching this with interest. This is audio 'painting' really, starting with a blank canvass and choosing the palette colours carefully.

[quote name='Protium' post='1071021' date='Dec 28 2010, 03:28 PM']But specific speaker diameters don't have a sound![/quote] It's probably a case of this particular speaker delivers the colouration required - the fact it's a 10 is neither here nor there, and other 10s, 12s or 15s don't give it. Speculation of course.

First gig? 1975 – Avon EB3 copy > [url="http://www.chambonino.com/work/work1.html"]Linear Conchord[/url] 30w valve amp > 2 by 12 sealed cabinet. Awful. 1976 – Second incarnation: Sound City 120 > home made reflex 1 by 18 cabinet. Big and heavy but it worked pretty well. Wilson Rapier bass. 1977 – Third incarnation: Sound City 120 > SAI 2 by 15 cabinet. 1978 – Fourth incarnation: H||H VS 1 by 15 combo. Shergold Marathon fretted 1980 – Fifth incarnation: Marshall Superbass 100 > Fender 2 by 15 Dual Showman. Shergold Marathon fretless. 2007 – Sixth incarnation: Eden Nemesis NC115 (240w @ 4Ω, 1 by 15 plus tweeter) 2009/10 – Seventh incarnation: Eden WT550 > Barefaced Super Twelve T

It goes something like this: 1. I wouldn't have played that choice of notes 2. But what they did was pretty good 3. In fact now I've heard it again that's very good 4. Oh. That's really good. How did they do that? 5. Jeez – I really must practice. 6. Oh oh... no amount of practice will get me to that level 7. Go home and place bass in bin and take up archery. (Long stick with single string - I might manage with that.) I think honesty has its place - combined with diplomacy. Most bass players I've chatted to have been self-deprecating enough to point out their faults before I've said anything, and that means I can remain positive about any comments.

Especially hearty Crimble felicitations to all and sundry. The sundry ones know who they are.

Is the owner expecting U-Boat attacks? [url="http://twistedsifter.com/2010/02/razzle-dazzle-camouflage/"]Dazzle camouflage[/url]

[quote name='Marvin' post='1059819' date='Dec 15 2010, 06:15 PM']Just the one for me. And I don't know but I might sell it (and not replace it).[/quote] [b]Dover – 1940.[/b] The Admiralty rooms deep underneath the cliffs are getting increasingly worried about Luftwaffe attacks on our shipping. There seems to be an increasing tendency for nuisance raids and worse on South Coast towns. The top brass and Churchill convene a meeting to discuss the perilous situation. "You see Prime Minister, we can keep sending out patrols to intercept these raids, but we think something much bigger is going to happen. We need to husband our resources." "Indeed. I can fully see your point. If we respond in full to the shipping attacks, we get drawn in to battles over the Channel, meantime Jerry sends more bombers to our ports. Yes, I see it all......... however, I just can't be arsed. Nope - no petrol in the system, the tank has run dry. No, it's no good chaps, I say let's do naff all, and I'll send a delegation over to France with the terms of our surrender. Now pass the brandy I'm parched." Is this the attitude of true Devonians? Is this the mettle that braced the backbone of a fine seafaring nation in centuries gone? Is this the the model for the surrender of a fine Basschatter? You'll keep that bass and practice like a mad man - or you'll have all of us to answer to. I shall personally supervise deployment of Mrs T's Spankatron. Take heed, gird your loins, don your armour and fight for bass-kind Marvin - the enemy of despondancy will be broken into a thousand shards, and Devon will once again bathe in the warm tones of your instrument. We are with you. Hoorahhhhh......

One solution is to coat the fingerboard with Danish oil, and then monitor for any wear. Re-coat as necessary. Danish oil dries off to give a thin but hard coating to the fingerboard. I've used rounds on my Shergold Marathon since 1980, only in the last two or three years switching to flats for a change. There is slight scratching to the maple fingerboard, but nothing to worry about. Since I started using the Danish oil about five years ago, the scratches have not got any worse.

A former girlfriend went to the same music college in Hull at the same time as Mr Matthewman. I think that same college spawned Roland Gift of 'Fine Young Cannibals' fame. Just a couple of chuckaway facts...

If using Safari, go to... View Menu > Show Status Bar (if not already showing) This reveals a strip at the base of the browser window. When you hover the mouse over an email link like the one on Andy's site, the status bar will reveal the email address.

The Aphex Punch Factory is a compressor - it squeezes the dynamics of the loudest and softest sounds that you play into a narrower range. Unlike a lot of compressors though, the Aphex unit is very good at doing this without drawing attention to itself - the sound is pretty transparent. Compressing the dynamics evens out the peaks and troughs in loudness when you play, resulting in more consistency in levels. It stops the quiet sections being dominated by other instruments, and the louder sections of your playing overpowering other instruments in turn. The Punch Factory uses an optical compression method - some of the signal is used to generate a light source, and this is then detected and used to control the gain of the signal output. Due to the relationship between the signal strength and the amount of light generated not being linear, the output signal is compressed, and in an audibly benign manner. The Aphex unit just gets on with doing this without fuss... BUT.... if you want to be using compression as a very definite and audible effect in it's own right, the Punch Factory is not the way to go. If you just want to even out your playing and keep your tone intact, then the Punch Factory will do this superbly.