bassman7755

I think were both right but just arguing over the semantics of "signal" which to me means voltage and current since to transmit the signal we need some current to flow. The case is that the cables effective parallel capacitance affects a higher current (for a given voltage) less than a lower one, not a dramatic effect except in extreme conditions admittedly like perhaps where you have very long and/or poor quality cable.

Well it can make in theory degrade the sound as you have less signal current flowing in the cable, probably not noticeable on a shortish good quality cable though but better to use the right input for the job just to be sure.

But nevertheless high end hifi gear can exceed 100 db snr at much lower signal levels than this.

A circuit with a particular gain structure will have less overdrive when running at a higher voltage given the same input signal. The question is - if you increase/decrease the gain inline with the rail voltage, does the circuit behave significantly differently. In the case of this pedal, does it sound any worse, or have a noticeably worse SNR at the lower voltage if you turn the gain down to compensate ?, I'm guessing not. "headroom" / "dynamics" are just SNR i.e. relative not absolute, if you have proportionately less noise at the lower voltage then there is no headroom reduction.

Get a zoom b1-4, the veritable swiss army knife of bass gear, does everything you want and loads more.

Havnt played those exact bases but budget yamaha stuff is always very solid. Possibly an option if you buy one from a reputable shop or classified like basschats sales, wouldnt recomment a complete newbie go for something random off ebay/craigslist/faebook though.

But you could presumably just passively voltage divided the input before the opamp input (which is what the volume control in the bass is doing essentially). Also why are all these 9v effects units and preamps not clipping all the time if this is such a problem ?. Also my B4-1 sounds exactly the same at 5v USB power as it does at 9v so presumably internally its running at just 5v. So why does hifi and studio equipment get by just fine with high SNRs when using line level signals everywhere, the highest level being +4db / 3.5v peak to peak ?. Still not convinced this is anything other than voodoo folklore to part bassists with more money.

I call cow poop on 18v, the vast majority of audio processing in the world is done at half a volt or less so not sure why bass preamps or effects would get some magic benefit from a massively higher voltage. I cant hear any fundamental difference between my 18v status and a 9v active (or even passive) instrument.

Yeah mind blowing value really, thinking of getting a second one to use as my gigging rig (b4-1 into my techamp puma to replace my rh450).

Surely if all you want is this minor EQ tweak then its better to achieve it earlier in the signal chain (pickup mix, instrument tone controls, an EQ effect, amp tone controls etc) - the speaker is surely the worst place to do it as your wasting power and efficiency.

I practice at home using my B4-1 into my hifi setup.

True, there an ability level above which this doesn't happen so much but that accounts for a fairly small minority of players and bands in my experience.

To explain what said before a bit further, what I've observed in the past is that bands than don't practice/rehearse (at all or not particular songs which "everyone knows inside out") experience "drift" rather than actual mistakes i.e. the songs change over time and usually for the worst. Nuances get lost, songs degrade from having their own unique groove and edge to song-x-played-in-the-generic-style-of-the-band. I imagine at some point we've all seen a really boring covers bands where the chords and melody change but not much else throughout the whole set. Of course that's an extreme example but a lot of bands suffer from this to some degree. Its a trap I've fallen into myself thinking "oh this song is so easy I/we don't need to practice it" and then having actually listened to the original having not done so for years sometime I'm actually quite shocked at how much essence of it has been lost and how much a travesty of it our version of it has become.

This is a good explanation of how to check the truss rod tension, essentially you just fret the bottom string at 1st and last frets at the same time and check the gap, too big a gap (at its maximum point) between the string and fret means the rod is too loose, no gap means its too tight: Also I think you need to take the string change out of the cost equation too, as you will probably want to put new ones on anyway at some point (and if you dont then theres no reason to do so for the setup). Plus you might buy a new bass and in a years time it have the same problem as the neck has settled and needs readjustment.

You probably need something thinner that that, a bit of thin paper as an experiment. If that is the problem I then it should be a very easy fix to raise the nut slightly: heat gun or iron to release the glue, glue a thin wooden shim underneath and re glue nut. You can even build up an individual string height using superglue and some filler like cotton wool. Theres loads of youtube vids on both.

I too have never experienced this phenomena of gigging acting as rehearsal, my experience is that faults in the way a band play a song tend to become worse over time not better, these are not "mistakes" as such but deviations of how the song is supposed to be played that creep in over time. Usually to do with things like exactly which chord changes should be syncopated (e.g. change a half beat ahead) vs not. The only way I can imagine this happening are a) every member of the band is a top tier players with great attention to detail b) noone give a stinky poo if the songs are a bit ropey as long as roughly the right thing was played and vocal melody as more or less right. I actually do know of one or two bands in the former category but they are originals outfits and I generally don't "do" original bands.

The epi 310 is like a 750w rms cab with fairly decent sensitivity as I recall having owned one some years back, I played in some pretty loud bands and never scratched the surface of what that cab was capable of TBH. If your after more volume I'm pretty sure the cab isnt the limiting factor.

Yeah the original pickups are emg selects which I think are blades, but I was specifically looking for something with more old school sound so wanting to try something alnico V based.

Hum cancellation - you've essentially got a humbucker but with one coil inside the other.

Your amp does not have two 4 ohm outputs, it has one 4 ohm output with 2 parallel output jacks wired to it. Which is why ... ... is the formula you are looking for.

Sorry had to be done ...

Great thing about this tune is it easy to transpose, you know incase the singer cant be silent in tune on the high notes.

Your likes and dislikes will be related to the specific cab designs, not the fact that they are 15's or 10's. I guarantee you that there plenty of 2x10s that you would love and 15's that you would hate.

What have I started ?? 😉. But yes there is some very tasty major pentatonic riffing going on, and then it ends on those pumping octaves. Such great playing deserves to be done justice, busking it up is just sacrilege really.

I didnt say it was not a potential one-listener for someone with decent ability. Rather I used as an example of a song that you could not play convincingly by busking it from just knowing the chords e.g. by just following the bands guitarist, having never sat down to listen to it (even if only once). Another example would be Run To You.