alexclaber

BGM is SO much better than Bassist magazine ever was. Much more diverse content and not written as though everyone reading it aspires to be an average pub rocker (not that being a GREAT pub rocker is bad thing by any means). Alex

[quote name='AdamWoodBass' post='21926' date='Jun 22 2007, 02:43 PM']I really love my warwick...[/quote] I think that says it all! Alex

[quote name='kjb' post='21507' date='Jun 21 2007, 06:23 PM']I'm using an Epifani 3x10 cab, but was thinking of getting an Acme low B-2.[/quote] It's the magic of a 3-way design and a really good crossover that sets the Acmes apart. I tried the UL310 a while back and thought it was a great cab but it just didn't have the midrange resolution I'm used to. [quote name='kjb' post='21507' date='Jun 21 2007, 06:23 PM']Where did you get your Avalon from, the cheapest that I've seen it was £375 from Ebay. The FMR RNP is £380 from here [url="http://www.audioagencyeurope.com/fmr_audio.html"]http://www.audioagencyeurope.com/fmr_audio.html[/url][/quote] Actually I think when I first compared the prices the U5 was cheaper and the RNP possibly more expensive, I know Avalon's prices have gone up recently. I bought the Avalon in the US because my brother flies back and forth all the time. Looking at the RNP again, something else that bothered me was the 6dB steps in gain - my power amp has fairly coarse steps too and that could possibly leave me in a no-mans' land of gain. The U5 is in 3dB steps which works really well. Don't forget to figure in the relevant rack mounting kits, they are not cheap! Alex

[quote name='RIM Basses' post='21614' date='Jun 21 2007, 09:52 PM']You guys are pure tech heads! enjoy the new gear.[/quote] Says the man that gets excited about coil winding machines and pin routers! Alex

Played a fun gig last night, just your typical somewhat dodgy rock music kind of pub - minimal PA (really sound bloke in charge though, which makes such a difference) - we were the second of three bands, being preceded by a rather good 6th form blues-ish band (rather like the early Stones 45 years later), and followed up by a reggae-esque outfit. The audience consisted almostly entirely of the first band's friends - ah, the joys of underage drinking... A pleasant change from the usual! Caught our set on video, pretty decent sound all things considered! [url="http://www.youtube.com/watch?v=MJGAN9B5Hys"]http://www.youtube.com/watch?v=MJGAN9B5Hys[/url] (That's the first part of four, should you be gagging for more...) Alex P.S. First time I'd used the Avalon U5 - it's fat.

I've used it for drum programming and keyboard parts on very rough demos on Cubase though that was about seven years ago and also for songwriting, whilst commuting, on a QY70 portable sequencer, sequencing bass, drums and keys. I've gradually moved away from it as my demos have become more and more stripped back, to often just the bass and vocal, and then it's up to the band how they fill the gaps. Alex

[quote name='kjb' post='21497' date='Jun 21 2007, 05:58 PM']I'm a big fan of Anthony Jackson sound and I've seen the U5 recommended with reference to him, even though he uses the more expensive Millenia preamps.[/quote] Yes, it's an amazing 'bargain basement' alternative. The Millenia preamps are heinously expensive and the one he uses is rather short on features for a bass - and the fully balanced signal path completely wasted. What are you doing for the cabs? I can't think of a better way of getting that studio sound on a budget than Acmes - but if you can afford it I highly recommend the Meyer Sound gear, it really is very very very nice, though it's also rather big and heavy. [quote name='kjb' post='21499' date='Jun 21 2007, 06:02 PM']There's also this that I was thinking of getting, as an alternative to the Avalon. [url="http://www.fmraudio.com/RNP8380.htm"]http://www.fmraudio.com/RNP8380.htm[/url][/quote] I considered that too. The lack of balanced XLR outs did it in for me, plus it's more expensive and far more fragile (in appearance at least). The separate mic and line level XLR outs on the U5 is a very nice feature, which is hard to find on high-end DIs and mic preamps. Alex

[quote name='kjb' post='21484' date='Jun 21 2007, 05:31 PM']I just find the noise that they make really irritating. I'm currently using an Eden traveller head, I've been practising for about 6 hours so far today, and it's superb, the fan never comes on, it runs cool. I'm getting an Avalon U5 preamp, and I'm after a power amp to go with it.[/quote] Good choice on the preamp - my U5 did its first gig last night and it was decidedly awesome! Personally I think that if you're looking at rackmount power amps then the fan noise will be inaudible in live situations. For practising at home could you use the Eden as your power unit, running the Avalon into the FX return. One option is to get a tech to add a fan defeat switch to a normal power amp - at low volumes the fan really isn't required and any quality power amp will shut down if it gets too hot before damage occurs. Alex

Can I ask why? Crown K-Series are fanless. Stewart Audio don't work on 230V mains. Alex

I am a HUGE supporter of hearing protection, having bought musicians' earplugs relatively soon after joining my first band. Before spending your next £150 on a bass, amp or pedals, go and get some custom plugs made, their are truly the best thing since sliced bread. You will not believe how much clearer everything sounds - simply because your ears are distorting much less. And bear in mind that when your ears are distorting they are being damaged and they never recover. Alex

[quote name='redroque' post='17905' date='Jun 14 2007, 10:07 PM']Sounding good - cymbals have come out well - the toms get a bit lost ( in the last track - just heard that!) in the middle - compress the toms as a sub group and raise the level a bit.[/quote] Sadly the toms are solely through the overheads so I have very little control of them. However I shall flatten the EQ on the kick mic and see if that brings some more tom sound out. [quote name='redroque' post='17905' date='Jun 14 2007, 10:07 PM']Can you treat the snare independently of the rest of the track - slightly different level of reverb or maybe some delay (remember I'm from the 80's!).[/quote] Actually I'm rather pleased with that snare sound, it's quite unusual, quite a strong reggae leaning with that ring. And despite growing up in the '80s my music collection from that decade is a tenth of that from the previous decade... [quote name='redroque' post='17905' date='Jun 14 2007, 10:07 PM']Not all compression is bad either. I love optical compressors on drums (the Jo Meek/ted fletcher units). I tend to have a stereo unit connect to the drum subgroup permanently! The valve based modelled ones sound great on bass and drums (the real ones sound even better!)[/quote] I agree, it's just a challenge to work, especially with the eccentric compression on the 2488. I shall get there. [quote name='redroque' post='17905' date='Jun 14 2007, 10:07 PM']An instrument may sound bad in isolation, but as long as it sits well within the context of the track, it's the right sound. tho' convincing the guitarist of that isn't always easy![/quote] Ours is a rare breed - he's recording using my pedals and the drummer's amp so you can see he's remarkably open minded! Alex

This is a minor obsession of mine. There are two main issues to deal with: 1. Maximising low frequency output 2. Ensuring the band (and audience if going without PA support) can hear the mids and highs clearly The solution to point 1 is to position the cab in the corner of the room on the floor. This maximises reinforcement from near boundaries and minimises cancellation from distant boundaries. In a perfect world (i.e playing in a concrete bunker) you will get 18dB more sensitivity below 150Hz. In the real world it will be less (as the walls and floor will both absorb and pass sound energy instead of reflecting it 100%) but it will still be VERY significant. The solution to point 2 is to position the cab so the speakers are on-axis or within 30 degrees of on-axis for those that need to hear them. Generally this means getting the cab up off the floor and/or tilting it, and also positioning it so it can fire diagonally across the stage or room from a corner. The final issue is one of interaction with the PA. If you have a reasonably powerful bass rig and you're playing smaller venues it makes a lot of sense to leave the PA for the vocals, guitar and kick, run the rest of the drums acoustic, and let the bass rig carry the house. This avoids negative interaction between multiple low frequency sources. If the PA subs are carrying the house bass sound then keep your stage volume (particularly your lows) quieter to avoid interaction. Ultimate decisions depend very much on the individuals in the band - in an ideal world everyone will be able to hear their preferred mix, which in my case is the vocals loudest, bass fairly loud and drums, sax and guitar balanced but a notch quieter. I've found that if someone cannot hear themselves that bit louder than the rest of the mix then they'll end up playing too loud in response - which is why all guitarists should learn to point their cabs at their ears, then they'll stop turning up! Alex

Contact Robbie McDade of RIM Custom Basses. Although he's made some more esoteric beasts - the current build being for me! - he's open to less unusual ideas and his workmanship is excellent. I know he's also working on a J-style bass for himself. I know what you mean about the 'piece of furniture' thing - although my custom will be pretty atypical and will have the bare wood look, it'll be simple unfigured woods, not some crazy Alembic style hippie sandwich. May I ask, why a custom bass? What is it about production instruments that doesn't do it for you? Alex

[quote name='stewblack' post='19539' date='Jun 18 2007, 11:36 AM']I put my 650 watt head through my 4X10 and it A) Sounds great, really great, and Doesn't blow up in any way. Just posting for balance here.[/quote] But that doesn't mean you're actually putting 650W through the speakers. Alex

[quote name='rodl2005' post='19441' date='Jun 18 2007, 07:41 AM']OOOOHHH NNASTY!!!!!!!!! 1000w RMS means it should take 2000w for short times![/quote] Thermally yes but not mechanically, and as these are bass speakers it's the mechanical (i.e. excursion limited) power handling that matters. I'd bet that these Behringer speakers can handle barely 10% of their rated power mechanically. Alex

[quote name='dave_bass5' post='19205' date='Jun 17 2007, 05:17 PM']Yes it was more or less the same place give or take a few feet. same distance from the wall though (about 6 ft from it)[/quote] This may be worth reading: [url="http://www.peavey.com/support/technotes/soundsystems/boundarycancellation.cfm"]http://www.peavey.com/support/technotes/so...ancellation.cfm[/url] There are two kind of acoustic coupling - one is the opposite of boundary cancellation and is where the sound bouncing back off the floor, walls or ceiling reinforces your sound. The other is where the floor itself starts vibrating in sympathy with your bass cab like a giant loudspeaker - this tends to be very uneven and uncontrolled in response. IMO you should try to maximise the former and minimise the latter. Since I did some reading into this acoustics stuff I've never had a gig where I can't quickly get a good sound. Alex

That's an OmniTop 212 vs a decent production ported 2x12". Note that in the lows both cabs act as direct radiators so the output down there is dependant on the maximum cone excursion and not the sensitivity plus thermal power handling. What does handle a low B mean? Does it mean the cab can hit low B fundamental without noticeable roll-off - in which case only Acmes can do it? Or does it mean the cab can handle an unEQ'd low B at high volume without farting, in which case you just need to make the enclosure small enough to restrict the speakers' movement (like the small Schroeders) but that does mean that you get no real bottom? If you're curious about how real world cabs actually respond, as opposed to what their specs claim, model the DeltaLite II woofers in the approximate volume of the cab (take a couple of inches off the external measurement to get internal volume minus woofers and ports) and you'll get a pretty accurate picture of the Epifani UL cabs which are about as good as standard cabs get. You'll notice that the response below 100Hz is FAR worse than the specs and perceptions would have you believe. Alex

[quote name='bass_ferret' post='19155' date='Jun 17 2007, 02:46 PM']I dont know how many cabs and amps epifani make a year but its surely in the tens of thousands.[/quote] I believe you totally overestimate the size of the market! I doubt even Ampeg sells that much gear... Alex

[quote name='dave_bass5' post='19061' date='Jun 17 2007, 09:40 AM']I guess you are right, maybe Epifani sohuld sell direct as well.[/quote] They can't because then they'd undercut their dealers! Catch 22. Alex

[quote name='Oxblood' post='18880' date='Jun 16 2007, 06:27 PM']There's one thing: this idea is so simple that anyone could have a bash at making something similar and report back here. Then we'd know![/quote] Or if you have two matching cabs you could put them back to back. As the lows are omnidirectional their response will be the same (i.e. still hopeless with Delta 10s) whilst the mids and highs will be combination of direct sound from the front speaker and reflected sound from the rear speaker, which will combine in mysterious ways due to phase differences. Another way to look at it, is do you like add reverb to your bass sound? I know I don't! Alex

They look like straightforward ported dipole cabs with all the pros and cons that result. The Delta 10 is a pretty disastrous bass driver, it farts out with more than about 50W in the lows despite the high thermal power handling. Alex

[quote name='dave_bass5' post='18834' date='Jun 16 2007, 04:00 PM']Maybe but compare the UL212 at $999 and the Dr Bass BL212 at $459. Both cabs seem very, very similar. Even the weight is only 1lb difference yet the UL212 cost double. plus the BL212 is hand made (and im guessing by someone better than the guy who made my UL212) just like the UL is.[/quote] Direct sales vs retailer sales makes up most of the difference in price. Epifani are probably only getting about $500 for their cabs from the retailers, if it makes you feel any better! If I'm not mistaken Epifani prices have come down a little since the launch of the Series II, as the Eminence woofers are less expensive (but just as good) as the B&C woofers. Alex

Dave, whilst you've got the speakers out I'd really like to see some photos of the inside of the UL cabs, just trying to get an idea of how they brace things to make them quite so light! Alex

[quote name='tempo' post='18592' date='Jun 15 2007, 10:18 PM']Thanks again for the advice Alex. My drummer is pretty dynamic, not a huge kit; we play pop/indie stuff (I know ...7 strings, overkill, ...I do a lot of chording.)[/quote] Sounds like you're in a similar situation to me - nice dynamic drummer, lots of chording (though I've a mere four strings), reasonable volumes - rock and roll but not metal! [quote name='tempo' post='18592' date='Jun 15 2007, 10:18 PM']At the moment I'm using an Ashdown EB combo+the hartke cab and it keeps up fine. (and sounds great)... but I'm wanting the sounds i get in my home studio, live. Probably too much too ask, Just seems Acme is the place to start.[/quote] Not too much to ask at all! Trust me on this, one Low-B2 with 600W+ behind it is going to be comfortably louder than your Ashdown EB + Hartke, and it will sound like you hear through nice monitors. There are two contexts where I wouldn't recommend Acmes: 1. LOUD rock or metal bands where the guitarists knobs' only turn in one direction and you're reliant on midrange honk and growl and general nastiness to cut through their mess. 2. Where the colouration of your speakers is as much as part of your sound as the sound of your bass. If you do not love the sound of your bass (and preamp / head) straight through a mixing board and out through good (i.e. big ones or with sub) monitors then buy something else. On the power amp front I can strongly recommend the QSC PLX or PLX2 series, I've been very impressed with mine. If you're looking for a nice preamp on a budget, keep an eye out for SWR Grand Prix or BBE B-Max. My new Avalon U5 arrived today, though the rack ears appear to have been mislaid in transit - once that's sorted my GP may be looking for a new home, after eight years with me. Alex

[quote name='Spikyhedgehog' post='18546' date='Jun 15 2007, 08:35 PM']I should've added, the cab was professionally built by 'IZ Bass Technologies' and is obviously a well designed cab. If anyone has any info on these people I'd love to hear from them, google yeilds no answers.[/quote] Obviously a well designed cab? I don't know how you come to that conclusion! Looks like a bog standard under-braced, under-insulated box which is too small for the woofers to operate efficiently, has a speaker arrangement that causes poor off-axis response, has too small a horn tweeter to cross over well to the woofers and to cap it all the drivers don't even match. However, apart from the latter point, that would accurately describe the majority of bass cabs on the market... Impressive name though! Alex