Woodwind
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Posts posted by Woodwind
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Trace Elliot stuff gets a lot of Love on Basschat.
Your combo will definitely move some air and get a good sound (whether that sound is right for your playing contexts is a different matter).
Modern amps can be a lot lighter than your combo and if the weight becomes a concern to you, you'll have the facility to remove the amplifier section and pair it with lightweight speaker cabs (this is what I'd do).
Welcome back to bass.
Enjoy!!!
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8 minutes ago, Stub Mandrel said:
f it's just for appearance, Stagg sell braided cables that are actually reasonable quality for not many £££. I have a couple for when I want a vintage vibe.
Yeah it's just for appearance really.
I didn't know stagg sold covered cables, thank you for the heads up.
Ideally I'd rather not buy yet more microphone cables though 😀
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2 minutes ago, lemmywinks said:
Which models were they?
When we got our old 725 cabs the previous owner told us they'd been sent back to have a revised power amp installed as the original ones had a known issue causing some of them to blow.
One was definitely a 725, can't recall the other, but it didn't look exactly the same
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4 hours ago, lemmywinks said:
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One for those that make their own cables.
I'm looking at adding a bit of Visual identity to some cables ahead of a photo/video shoot.
I make all my own cables and I'm quite tempted to add an external layer to them to give them a slight vintage vibe.
This sort of stuff -
I know it may be a bit passé now as you couldn't move for seeing light fittings in cafés strung with the stuff 5 years ago, but I digress.
Has anyone on basschat used this kind of thing?
I would like to buy from a UK based supplier, but I'm not having much luck finding one.
Anyone able to recommend a supplier?
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2 hours ago, Phil Starr said:
From a technical point of view it is no longer sensible to try and fill the room from backline amplification. To reach levels of 90db at the back of even a modest sized room you are going to have levels of well over 100db on stage. That is going to make it impossible to keep the sound out of the vocal mic(s) and you will always sound muddy. More importantly those levels will permanently damage your hearing after less than an hour and you will progressively lose more each time you gig. It makes much more sense to use modest sound levels on stage and use the PA in front of you to fill the room. In the long run it works out cheaper that way too and your equipment carrying will be easier on your backs. If this is a new venture it is worth having this conversation with the new band before you go down the 1970's route. If your drummer is unable to control their levels and your guitarist a bit of a dinosaur then I'd really strongly advise you to look to going in-ears. I now have huge hearing loss and tinnitus and I wish I had changed the approach earlier.
Speakers like the Alto are fantastic value for money and way better than cheap speakers used to be, unbelievable for the price but there are compromises that have to be made at the price. Generally the problem with the bass drivers in the cabs is that they have smaller magnet systems and so excursion is limited and the frequency response is compromised. I use QSC and RCF speakers and currently you can get better sound at the price from the RCF's but both are great speakers as are Yamahas. You get what you pay for at this price point but the choice is yours, the cheapest solution would be a second matching Alto. That should mean you can match the output of the drums. Whether you choose better speakers is your choice.
I'm surprised by the idea that RCF's are unreliable, mine have been faultless and I don't know of anyone who has had any trouble with them. They are nicely made. Obviously any product produced in the thousands can have the odd problem but this is the first I've heard of with RCF's. If @Woodwindhas additional information I'd be interested to hear about it.
I've been at two gigs where an RCF has popped on power up (Both models in the ART range) Different venue, different band etc etc so no common user error.
In both cases the owners of the speakers when trying to get them repaired have found out this isn't unusual.
As I say the sound from all the RCFs I've heard has been phenomenal, but these issues were enough to dent my confidence.
I'm well aware that all equipment can fail though.
I was looking for reasons not to spend RCF money and allowed this to influence (cloud) my thinking.
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1 hour ago, skidder652003 said:
I'd look into RCF at that price point.
That was my initial thought as well, but having seen many RCF power modules go pop I looked at something with a good warranty and supposed better reliability.
That said, the sound of the cheaper RCF stuff I've come across has been superb
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1 hour ago, skidder652003 said:
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The Alto and Headrush are built down to a price point to a greater degree than the QSC.
I think you'll find the QSC goes louder (with a superior sound) than the headrush/alto
Whether it provides enough of a difference to justify the outlay I can't say.
I've recently acquired a Yamaha DBR12 and it's phenomenal.
It provides everything I hoped for the money I had available.
I don't know how much better it is than an Alto or how much "worse" it is than a K12, but it may be worth a tester
Additional edit:
I have just done a bit of googling and the Alto/headrush are basically the same price as the Yamaha.
The Alto appears very similar on paper spec wise so assuming they are basically the same then 2 Altos should be enough.
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Just got a Grampian GR ribbon mic, completely refurbished and modified by Stewart at Xaudia.
Quick test recording and it's fantastic!
I can see this will be a slippery slope.
These older mics have a fair bit of romance to them and can be brought up to modern standards and sound wonderful!
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Have you recently moved to the UK?
EastAnglia in American terms is absolutely tiny, but in UK terms covers quite a large breadth of towns.
Norwich, Ipswich, Cambridge being the big and busiest, but the coastal towns like Kings Lynn, Lowestoft etc etc will have "lots" going on and then all the other towns across the counties.
Between all these hubs there will be a fair bit of variety, but I can't say how much to keep a pro going.
It will be a bit of a slow slog to begin with getting your name around and into a position where you can pick up dep gigs.
Facebook as has already been said may be of use.
Do you have an online presence outside of social media?
Your own website for example?
It may be worth investing in one of a reasonable quality if not.
Good luck!
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9 hours ago, Storky said:
Thanks for the input. I also have the PJB double 4 which I use at home and am very happy with it for practice. It does look like I should seriously consider the FRFR route.
At the show I played earlier this month, I ran two double4's down the length of the room and had the yamaha next to me.
The double4's did such a good job!
I have built tilt back stands for them so they can be used vertically, but inclined.
What I'd love is something that sounds like a double4, maintains the small form factor, but (much) louder.
I'd imagine two phil jones c4s and one of their new classD amps would be close to this, but way more than I could afford to spend.
The tilt back on the PA speakers is very handy.
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9 hours ago, Storky said:
Thanks for the input. I also have the PJB double 4 which I use at home and am very happy with it for practice. It does look like I should seriously consider the FRFR route.
At the show I played earlier this month, I ran two double4's down the length of the room and had the yamaha next to me.
The double4's did such a good job!
I have built tilt back stands for them so they can be used vertically, but inclined.
What I'd love is something that sounds like a double4, maintains the small form factor, but (much) louder.
I'd imagine two phil jones c4s and one of their new classD amps would be close to this, but way more than I could afford to spend.
The tilt back on the PA speakers is very handy.
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Virtually all the music I listen to is on record or CD, with a few new tapes and minidiscs bought from bands when I'm at a friend's who owns an appropriate player.
The only times I stream music (primarily in previews on Boomkat or bandcamp or sometimes on excerpts in reviews) is to find out if I want to buy it.
And @Stub Mandrelhas just replied while I type with precisely what I was going to say about commitment and algorithm 😀
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Bit late to this.
I use Phil Jones Double4's to amplify my woodwind instrument.
For on stage monitoring these are wonderful. Great sound and so easy to transport. This is when I'm going through a house PA
However I'm planning more shows where the audience/stage relationship is slightly different and greater amplification is required. The "stage" sound is the sound in the whole space.
I recently got a Yamaha DBR12 and just as the others have said about their QSCs I simply don't see why I would buy a "bass amp" again.
Oodles of power, wonderful bass extension and very articulate mids.
Oh and £370 delivered......
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2 hours ago, Boodang said:
As I said, I agree with you about the alder wood and I think this body is going to be project B.
But out of interest, I can understand this particular body not being someone's cup of tea but nice woods, ergonic shape.... horrible?!
Sorry, too strong a word on my part. Apologies. I hadn't had enough coffee when I wrote it and I just couldn't shake the image of a fender shape headstock and 4 in a row tuners on that body, which is where the "horrible" came from.
A more diminutive headstock, 2over 2 or maybe 3 over 1 would look good with that organic form.
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6 hours ago, Boodang said:
So, getting ahead of myself here but asked my local luthier about making a '61 spec neck and here's a body he can attach it to. So, '61 neck, Walnut/mahogany body, Weather Report pickups.
Just read this whole thread.
If I were to be going to the bother of commissioning a bass with the intention of sounding like Jaco Pastorious, that is resolutely not the body I'd be attaching custom wound pickups and a carefully specified jazz neck to.
Aesthetics aside (I think it's horrible) you surely need as close to an alder fender jazz body as possible!?!?
The wood has to vibrate/dampen the resonances in the right way.
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16 hours ago, Earbrass said:
Yes, although at the other end of the price spectrum! I use a Chinese (?) Superlux R102 to record my nyckelharpa. I find it smooths out some harshness in the upper mids that I encountered when using a large diaphragm condenser. As it is an active ribbon mic, using phantom power, it doesn't require a lot of boost from the mic pre, so it's fine going straight into my interface. I seem to recall it cost about £100 a few years ago. No complaints so far. They often seem to be recommended for stringed instruments. If I were going to upgrade, the Rode NTR and the Sontronics Sigma both look interesting, but I'm not sure the (probably) slight improvement would be worth the expense (they're both in the £600-£800 range) for me.
I think you're right.
One can catch the spirit and qualities of a ribbon with a modest outlay.
The more expensive, arguably better, microphones offer improvements, but will start to expose everything else one needs to improve - pre-amp(s) and room primarily.
I've been digging around on current albums I like and the engineers have used very humble vintage ribbon mics.
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I've done a search and it seems most mentions of Ribbon microphones are from a while back, so I thought I'd start a new thread and hear from other ribbon fans.
I'd always heard that a ribbon was a great way to record a double bass. Alas when I was playing and recording in that instrument I never tried one.
Scroll forward a decade or so - I'd been involved in various sessions with my bassoon and contrabassoon and the engineers always brought out an interesting looking microphone.
I enquired and it was a Coles 4038.
My interest was firmly piqued so when it came to record some of my own music last year I asked for a Coles to be used in conjunction with a Neuman u87.
In mixing I found I basically avoided adding any of the U87 as the Coles had such an amazing sound.
Very solid, wonderful midrange and lovely bass .
Since then I've experimented with various other vintage and new ribbon mics and I am now a self confessed fan.
I'm looking to buy a cheaper vintage mic for my own demos and will always insist on a Coles to be used in conjunction with other mics in studio sessions.
Anyone use ribbons here?
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10 hours ago, Downunderwonder said:
If paying by debit or credit card your payments are guaranteed by the merchant bank who has been taking fees all the long years in anticipation of having the occasional horse go lame along with the astounding profits. Banks don't tell you this, you have to ask.
I didn't know this. I assumed if a business went bust there were no protections.
thank you!
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2 hours ago, MacDaddy said:
https://www.bbc.co.uk/news/uk-england-60322525
M&B Promotions has gone bust. Will this be the first of many? Time will tell...
I think yes, we'll see a few promotions companies of various sizes folding this year.
I don't want to be too much of a pessimist, but I think we're in for a tough period.
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From the BBC article
"...The promoter thanked customers, artists and venues for their support and advised ticket holders to contact their bank or payment company for a refund..."
I feel very sorry for anyone who has splashed out on tickets.
My guess is most won't be seeing a penny back from their bank
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I do this, albeit in a very different context.
For venues with a PA I send my Mantic hulk sub signal to a dedicated DI /mixer channel and I get the rest of my signal to my monitor mix on stage.
For venues without PA (so my amp is the sound the audience hears) my amplifier takes a feed from the hulk, but I have it set lower.
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This thread has introduced me to FMC cabs and my interest has been piqued.
I'm bit of a sucker for the idiosyncratic and my eye was instantly drawn to the 14" cab they offer (yes, yes I know speaker size "doesn't matter" 🤣 )
I'd love to hear FMC cabs in action and look forward to reading all the user reports on here.
'Pistol'. A Danny Boyle series.
in General Discussion
Posted
New Cross?
They filmed nearly all the live music scenes at The Venue and The New Cross Inn over a few days/nights last summer.
It was hilarious negotiating the streets around the crews, the actors, extras and a load of tag along old school punks hanging out