bassman7755

1 hour ago, Lozz196 said:

I`ve found that to get the best out of my Ashdown amps the Input Gain needs to be set so that the loudest part of my playing (ok, yes we all know that means all of it as I have no subtlety with my ham-fist-punk approach) puts the needle on the meter into the red. From there select Output Gain to match the volume of the other instruments. It`s actually quite amazing how much of a difference it makes, it`s almost like the amp "comes alive" in comparison to if the Input Gain is set a fair bit lower.

.... because it was designed to be used that way (assumption on my part but a fairly safe one).

The "middle" volume on your amp is probably a preamp out volume, usually you would only have one of these if you have an effects loop and/or multiple preamp channels.

If you have multiple channels then obviously then use the channel volume to balance them, if you're using effects loop then run this volume as high as possible before the effects clip or distort. If not doing either then just set it to half way.

So to set it up ...

Run as much gain as you can consistent with the sound you want as per Lozz's description.

Run any intermediate volume/level at 50% / 12'oc as a starting point.

Adjust your final level using the master volume.

47 minutes ago, Jack said:

It just is. I know I know, wall loading subs, dispersion, has anyone mentioned power alley yet? 

 

The problem is that, in an imperfect world with competing priorities and a different stage each night, it's often the best compromise. I once convinced my hard rock band to at least stack both subs on one side of the stage with the top on top and then have the other top on the other side. Technically better yes, but it meant carrying an extra stand rather than a distance rod, worrying about the legs sticking out, having to secure the three cabinet stack with ratchet straps and then running the output of one of the subs all the way across the frontline. 

Stick the subs one on top of the other in a convenient corner of the venue and just have the tops out front. No weird asymmetric stand stuff to worry about.

On 20/12/2021 at 10:50, Stub Mandrel said:

 

 

 

To answer in reverse order, I need to have the bass and gain set high enough to get a decent sound (valve preamp) to DI into the PA so turning it down isn't practical.

 

This means I have to use the volume to control levels.

 

For rehearsals, I have the amp set louder as I don't go through the PA.

 

Basically combining a 500W rms amp with a 102dB cab is very loud, so  the practical minimum volume isn't to quiet. I can't get it quiet enough for use at home without using the 10dB pad and rolling back the gain, which is not much help.

 

On reflection, this pub was quite small and it didn't help we had parallel walls about 10 feet apart behind and in front of the left-hand PA speaker. I had a big resonance at A/Bb and that's pretty much exactly the wavelength fto fit between those walls. I think it was partly this resonance making the bass sound too loud.

 

Personally, the right solution would have been for me to not use the PA, or at just to have used one channel of the PA as the left-hand set wasn't doing much. In fact the whole way we were set up was pretty awful but what does a humble bass player know of such things?

Pretty poor design if the master volume wont turn fully off. Never come across that in any kit I've ever used. I would think it would be a fairly simple job for a tech to change the pot for one that works better.

4 hours ago, Rayman said:

Yeah ok, it IS important, but HOW important. 

I believe gear is important but not necessarily in the priority people assume. Having strings in good condition is for example one of the biggest factors, to my ears a £175 bass with fresh strings will sound better than a £3000 bass with old dull ones (I actually own basses from both these price points). The other way of looking at it is if there is a weak link that will bring down everything else, so long as there is nothing hugely deficient in the signal chain it comes down to playing an musical context. Obviously this applies to "vanilla" bass sounds and not overtly effected ones which is whole other ball game.

16 hours ago, theplumber said:

As the title say's... Been with the guys 3 or 4 months now and have been using various makes of earplugs. They do make a bit of a difference. The hissing is still in the ears after most gigs but it goes away over a few days. 

Sometime soon, it wont go away, ever. You have a limit window of time to protect your ears better after which the damage will be permanent. You dont get a second chance.

On 02/12/2021 at 18:32, Boodang said:

Found some old bass player (us) clippings.... anybody remember this ad?!

Getting perfect pitch wasn't as hard as achieving the facial expressions necessary I thought!

I like how they couldnt even make an effort to find a model who could actually play guitar (you can tell this guys has never even held one before)

19 hours ago, chris_b said:

 

I am biased, because I don't think you have a problem.

This is a good point, listening to a recording it might sound a bit sparse but at gig with the volume and general "buzz" around a live performance people wont notice the lack of rhythm guitar so much.

I recall one occasion where I was in a two guitar rock covers band and we had to do a gig where one guitarist was absent and noone in the audience (judging by the reception) really noticed much difference at the gig, indeed one person who was there who had seen us with a full lineup said it took him half the set to realise were were missing anyone.

18 minutes ago, Davi said:

Would a boost pedal between the pre and power amp solve the volume issue ? 

If it were me I would go for something like this https://www.amazon.co.uk/Behringer-MX400-Micromix-Noise-Channel/dp/B000KGYAYQ?th=1 

17 minutes ago, la bam said:

If it helps - and it may just be my unit - but I tried running my svp pro with a crown xls1500 power amp. Switched it to .775 and it was still way way underpowered.

 

I then tried it with a bass amp, via the send/return, and it worked perfectly.

 

Also worked great going out of the svp and into the input on the bass amp.

The effects return is usually more sensitive than the input on a dedicated power amp. Interesting that your SVP pro struggled with the crown amp, maybe these ampeg preamps have some poor quality control or something where the output isnt consistent between units or something.

7 hours ago, agedhorse said:

There are several versions of the SVP, it’s very possible that this is common with all SVP models.

I used to run an SVP-PRO into a QSC PLX 1602 and had no problems with levels - plenty of signal level with preamp out put on like 1/3rd volume.

Id be tempted to get the preamp checked out for faults. 

23 hours ago, d-basser said:

Cheers Phil. 

 

I knew it shouldn't sound boomy or inarticulate but my experience with decent 1x15 cabs is limited so I still surprised myself with the clarity it's got.

Back in the day when I had an epifani 3x10 I A/Bed it with my g2 compact and could barely tell them apart (with epi horn turned fully off obv). Your cab should handily cope with most single cab situations unless a horn was needed.

On 26/11/2021 at 23:24, ambient said:

I want a one metre long splitter cable, with 6.35mm TRS stereo Jack going to a mono Jack on one side, and an XRL on the other. 
 

It’s to connect my stereo pedalboard to my interface.

If you wanted something off the shelf to tide you over you could get a stereo to split mono cable and a jack to xlr adaptor.

On 25/11/2021 at 16:20, simonlittle said:

I’ve use various cables over the years and honestly I couldn’t tell a difference in sound. 

There generally wont be much difference unless something is faulty or seriously sub standard. Guitars on the other hand are much more sensitive to cable quality as they have a lower signal output and much more high frequency content.

59 minutes ago, Boodang said:

When I had my first Sei bass made I had many a conversation with Martin (owner/builder and someone who doesn't over charge) about charging what something is worth and charging what you can get away with. Alembic feels like the later.

And whilst some people say 'well that's what people will pay', for me there is an element of ripping people off about the later just because they have a unique product. 

Its not ripping anyone off unless there is deception involved. I've moaned in the past about Tech 21s frankly ludicrous prices for their pedals especially the signature series but ... they arn't ripping people off. Noone has duty at the end of the day to sell something for some pre conceived idea of "whats its worth", its down to the prospective buyer to insist on value for money as they see it. Alembics eye watering prices are a down to those willing to pay the money as are Tech 21s pedals.

1 hour ago, drTStingray said:

I would be surprised if anyone couldn’t tell the difference between say the sound of a Precision bass, a Stingray and an Alembic. 

They all have very different pickup configurations i.e. single mid poisoned single coil vs single mid-bridge position humbucker vs dual bridge and neck humbuckers. I'm willing to bet that this accounts for 90% of the sound difference.

1 hour ago, peteb said:

Funnily enough, I have started getting 'high end Samsung' smartphones for the last couple of contracts after years of getting cheaper ones.

Generally our free market system ensures that when you pay more, you get more (amount/quality/whatever), I think the problem with electric guitars and basses in particular is the amount of mystique and folklore around various things like supposed tone woods and what not which makes it hard to know whether the more expensive thing is objectively better.

8 minutes ago, Doddy said:

I disagree. 

Sure you can buy a decent instrument for £400 but it's more than that.  If you want something like all Hipshot hardware and Nordstrand pickups (for example), you're already looking at that budget, even on a mass produced CNC bass. Decent parts cost money.

If you go to a luthier then you're also paying for their time and skill, like any other tradesman.

I think the argument is not that you arn't getting value for money in terms of input time and materials but rather that the actual sound and playability improvements you get from these expensive nice-to-have bits and bobs generally just not in proportion to the extra cost (by quite some distance usually).

47 minutes ago, tegs07 said:

There have been a couple of interesting threads (to me) recently about instruments, their construction, marketing and value. Some points such as the materials the instrument is made from (tonewood - or to give it a less contentious name simply wood commonly used by luthiers) seem to incite foaming at the mouth. The other element for contentious debate is value and what is required for a company to achieve that value (marketing).
 

I think most people would agree that technology, a cheaper manufacturing base  and production workflow has improved to such an extent that no working musician really needs to spend more than £400 on an instrument. If we get rid of marketing costs behind a brand this would probably drop to nearer the £200 mark.

Does this seem a reasonable conclusion?

If so why do we pay more, particularly if we are in the camp that dismisses any tangible benefits of wood choice and other similar incremental upgrades and also dislikes brands and the marketing and endorsement required to build those brands?

I agree with the general premise that anything over £500 or thereabouts is mostly vanity but if people want to spend thousands on an exotic looking bass which gives them pleasure to look at then theres no harm in that is there. There are some exceptions though for example a graphite neck which has a way more uniform response than any wooden neck is going to add another £500 to your base cost. Given the choice I would never play another wooden neck bass again but there are other logistic and cost factors at play.

2 hours ago, Doddy said:

It's not completely wrong. The first time through at least, it's a low F#. It does play it an octave higher on the repeats though.  Where it is wrong, is it's written in double time.

Thats not what I'm hearing, also if you watch the bass player in the video @33 seconds in ...

... looks to me like hes playing the high F# then moving down for the next note. Good spot on the timing though - it would be seriously challenging to play the octaves as 16th notes at that tempo.

Its awkward to play because (IMO) the score is wrong, assuming your trying to play it exactly as written (see above)

For a start I think the score is actually wrong - the F# at the start of verse bar 2 (number 10 on score) is an octave higher at least to my ears on the recording. The pattern is, unsurprisingly, much less awkward when you start it with 9th fret A string / 11th G. 

3 hours ago, Cuzzie said:

It’s not just components used in it though, it’s R&D, premises, machines/equipment, staff wages etc etc. I think the Tech21 stuff is keenly priced, plus for the most part it’s bombproof, and DG stuff is well made with great customer service, although I agree they are on the pricier side 

The basic design of FET overdrive circuits dates back to the original Tech 21 sans amp released in the 80's, compare and contrast for example with a zoom muli effects pedal which needs thousands of hours of software development, analysis of modelled circuits etc, contains more expensive components (needs actual processing power) and sells for a fraction of the price ??. So no I don't buy the R&D cost and general business overheads argument.

Does make me wonder though how DG Tech21 and various other boutique pedal continue to get away with charging £250+ for fet circuits with generously £10 worth of components in them, its some kind of weird failure of the free market to bring the prices down.

2 hours ago, TimR said:

 

 

Yes. Lots of deluded instrument owners around. You just have to keep auditioning. You're auditioning them as much as they're auditioning you. 

 

This is where depping and keeping contact with musicians you used to play with comes in. It's all about networking and knowing who can actually play. Turning up to play in a band of people you've neither been recommended to nor do you know who they are is very hit and miss.

I've auditioned for some dreadful bands over the years, notable incidents include the keyboard player who could only play in C/Am and had to use the transpose feature on the keyboard to play in any other key.