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Phil Starr

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    Chard,Somerset

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  1. I have to say I love playing this. It's both a nice one to relax to and just enjoy the ride, and the audience reaction but it also has places you can put a bit extra in if you fancy it. There seem to be dozens of versions over the years with a gradual change from a very pronounced shuffle towards four to the floor. It also seems to show up most of the guitarists I've played with who can never seem to remember the repeats of the opening riff when they recur or how to end the song As for changing keys. I do not for the life of me understand why singers don't demand it more often. They can't all have the same natural range as the original singer, surely they ought to sing it in the key where they sound best. It seems to be more about the crossover points in their voices, between head and chest voices and so on. If the dramatic part of the song or some fast articulation occurs when their voice is weakest a semitone or tone can really beef up the song. So many singers can't seem to 'hear' the song in anything but the original key. It's all compromise of course; I'd struggle with All Right Now if I didn't have an open string to play in the octave jump and I'm usually happy when the guitarist asks to play E rather than Eb in a few songs. In the end though if the singer is straining for a note or pitchy the whole band sound crap so why wouldn't you play to suit the voice they have?
  2. Phil Starr

    Speaker

    It's probably worth going over the whole driver and the cab itself. If it's an old speaker sometimes the dust cone in the middle or even the corrugated surround start to come loose as the glue hardens and breaks over time. anything loose in the cab will sound and anything not screwed down properly or even the speaker grille might be making a noise.
  3. Phil Starr

    Speaker

    The power an amp can drive is roughly halved if you double the resistance. If you connect two 8 ohm speakers in parallel they will act like one 4 ohm speaker with each getting half the power. So yes your amp will give 300w into 4 ohms You say home practice so is it worth the cost for a little extra volume you probably don't need?
  4. I feel like a spoilsport but the AH 200 is 200W into 8 ohms and the MB is 300W into 8ohms. That sounds like a lot but is actually only 1,76dB noticeable but only a marginal increase. Loudness is mainly about the mids, any mid suckout and an amp will be noticeably quieter and a mid boost will make it sound louder. We also know nothing about the gain structure, the Trace may just have more gain. What is interesting is that we probably all get pretty pleased when an amp delivers more than we expect and pee'ed off when they under-deliver. I'd rather have Trace's reputation for loud watts than make outlandish claims of high power that can only be delivered under very limited circumstances, which is now the new normal. I use an MB Tube, it's loud enough. I can go louder than the drummer, previously I had a HA3500 and before that a Peavey MkIV, they all went more than loud enough, I'll bet the Trace is more than enough too. I borrowed one of the Trace 15" combo's and it was loud enough but more importantly it sounded great. Sounding great seems more important than who has the biggest watt.
  5. People are being far too pessimistic. The RCF is a good quality PA speaker designed to have as flat a response as they could get. It will use the same drivers as the powered version and peole have had good results with RCF speakers. The point about your bass amp not being flat is valid. Room problems apply the same to any speaker and by 'flat' we simply mean it tracks the output from the bass pickups, whatever that is. you are talking about small gigs so output below 59Hz is usually little more than a nuisance to be filtered out. the only other issue is whether the speakers can handle bass without damage, that shouldn't be an issue with a 15" RCF driver, PA drivers are designed to have similar heat dispersion to bass speakers and the bass only driver is likely to have better excursion than a bass instrument speaker if there is indeed any difference. The advantage of an active speaker is that the matching of amp to speaker is done for you and it is easy to build in protection for the speaker. There are plenty of old PA cabs around, borrow one and see if you like the sound. The RCF is probably going to be an upgrade on most PA speakers but just check you like the cleaned up sound before you spend any money. It won't be exactly like the RCF but it's better than just a leap into the dark.
  6. I was thinking that too, we do two hour long sets and they average about 14 songs each. I too think that looks like a fun set and well worth an evening out, I'd go and have a dance/listen. I wish I could persuade some of the pub bands I've played for, or still do that this is the sort of thing people actually want to hear on a night out.
  7. The drill guides are excellent, I use them when drilling for dowels, or anything where a right angle is critical. I shouldn't say this as I live just outside Axminster but other people do similar guides. Axminster power tools do a bit of quality control though so theirs will definitely be ok.
  8. Just a little update, I used the little cab on it's own for the first time in a while last night. Typical situation hereabouts, a small country pub with a low ceiling and they had changed the start time so no chance to soundcheck. I made a last minute decision to use the 30l cab on it's own backed against a wall but up on a bench seat to save space. It sounded fab with my J-bass/John East set up. Lot's of punch and bite and no need to roll off the bottom end, just a little tweak to the mids. It shouldn't have been a surprise as that's what it was designed to do but it's nice to have the theory backed by practical experience. There was another bass player, ex band member but now fully pro there. He made a point of complimenting the sound and seemed genuinely impressed. Maye it was just to avoid commenting upon my playing of course
  9. The Fane wouldn't be a good choice anyway anything LF is designed to work with a tweeter and the roll off in frequency is likely to be too low to make a successful single driver cab.
  10. Might be worth asking here as South West folk are likely to be following this thread
  11. this is a great way of doing it, I use a Zoom H4N at the moment. The sound is fantastic through headphones with the built in mic's and they run on batteries for way longer than a gig. I just put it in a pocket at rehearsal straight into headphones. You hear a kind of super-real copy of everything around you (we have floor monitors so it's already fairly well balanced already) except that you can control the volume, turn everyone down at will. If you reposition the Zoom it allows you to alter the balance a little. Put it nearer the bass amp if you want more bass and nearer the vocal monitors if you want more vocals etc. By carrying it on my body I get more of my vocals which is what I want and it's hands free without a wireless connection. All until the ZS10's fall out that is I'm looking at the Zoom H1 or H2 at the moment the H4 is a bit heavy in your pocket or on a belt. I reckon the H1 on a lanyard might be right for me.
  12. I think the thing to remember when choosing your speaker is that there is no magic pixie dust. the Technology and Physics involved in the speaker drivers is the same and indeed sometimes the drivers themselves are identical or near identical. To make bass you need to shift lot's of air. To do that you need big cones and they need to move a long way. In turn this means you need powerful magnets and long voice coils with good heat handling. All these make for expensive drive units and ultimately more expensive cabs. There are value for money speakers out there and some offer less value but there is no magic budget speaker that breaks the laws of physics or common sense. RCF and Barefaced are doing the same trick essentially, handling all the bass with a single small driver by using an incredibly well specced bass driver with a long coil and a big magnet. That's the other factor. Increasing the cone area increases the efficiency of the system and increases the volume of bass. A cheapish 15 may well match an expensive state of the art 12 for output and a 12 however good isn't going to match an 8x10. So when you come to choose don't expect a Headrush or Alto to match QSC or RCF (btw these are equal in quality but the RCF's are currently cheaper) any more than you'd expect a single basic TC or MB/Ashdown to match a Barefaced. If you can't get what you want out of a single 12 at any price point using a bass cab then moving to a single 12 PA cab will still have the same limitations.
  13. It works really well for the bassist. My very first gig I used someone else's rig which was set up like that. In memory it's the best sound I've ever had. Later with one band I used a Hartke Kickback 10 with the notch filter set to remove the deep bass and bass DI'd with a bit of eq to balance the sound from the two sources for the audience. It's crystal clear for the bassist and you do get all the lows you want from behind the PA. It's my favourite set up and yes it absolutely works. However my drummer hated it, likes the bass to flap his trousers and the constant whining from the drum stool spoilt the otherwise excellent sound.
  14. Never been big on faith, plodding realism is more my thing Thanks though
  15. I think that's right but I want proof of concept before I splash out that much. In rehearsal I'm loving ambient miking and I'm gradually adjusting to using the ACS plugs in gigs. One of the ZS10's will stay in place for a few minutes and the other ear maybe 20s, not even a whole song. I've some Sennheisers I use to listen to music with and they are better but I've always had problems with keeping anything in place in my ears especially when I start moving.
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