Mog

loadsa choices here.
[url="http://www.thomann.de/gb/guitar_amp_speakers.html"]http://www.thomann.de/gb/guitar_amp_speakers.html[/url]
personally i like celestion speakers.

Hi all. I was thinking about picking up a Behringer Ultrabass BXR1800H head for the gigs we play in "less than pleasant" environments. The band I'm in usually play a few shows in marquees each year at MC rallies, Barn Bashs' etc. These shows can get pretty messy and its not uncommon for gear to end up in a pool of beer in wee small hours. Have any of you tried this model? I know Behringer aren't reknowned for reliability but the price is pretty cheap for 180 watts and it really wont be over used. Any thoughts?

Ugggh! Do we really need another Super-Jazz? I cant see people switching from Sadowsky, Tyler, Lull etc. The last Spector that caught my eye was the Gary Tallent sig.

X music is what Musician inc. is now called. They have no outlet in the city center anymore. The rest, bar Instrumental which is located on the quays, are not worth a visit. There is a new Yamaha dealer beside Instrumental that I haven't been in yet.Might be worth a look.

not too sure but i think its the same as 700watts max input.

Nice choice. Enjoy it and welcome to the LOWEND !

Elixer are good for the odd endorsement too.

[quote name='barneyg42' post='366024' date='Dec 30 2008, 09:45 AM']Phil was born in West Bromwich!![/quote]

To quote the long fella,
"When I'm away, I say I'm from Ireland. When I'm in Ireland, I say I'm from Dublin. When I'm in Dublin, I say I'm from Crumlin. And when I'm in Crumlin, I say I'm a Lynott"
Back off, Phillo is ours! Ya'll can have Bono if ye want!
Best British bassist IMO is John Paul Jones. Closely followed by Noel Redding.

Any of the Ramones stuff

I always prefer to play across the neck rather than up and down.It can be a tricky move and can seem disconcerting at first but its a step all bassists should at least try IMHO, next stop is a 6er!

An unfortunate situation but thankfully it seems like its working itself out. (with the added bonus of 18 year old ladies attending the gigs)

Personally I'd go for another 4x10. Speaker size is not the determining factor in getting a punchy sound. Everything from pups down is what delivers the punch. Most modern 4x10's have equal if not lower range than most 1x15 cabs.

[quote name='Apex' post='685178' date='Dec 15 2009, 01:53 PM']Mog,

Sorry I didn't get back to you fully the first time - it was a bit late and I was half asleep! I'm not sure I understand what you mean by getting it mastered. Our intention is just to use this as a demo disc for getting pub and party gigs, so do you think the quality needs to be improved for that?

Wasn't planning on any more recording until we'd earned enough money to pay for it ![/quote]
No bother lad. The larger venues might be a bit picky so it certainly wont hurt but like I said earlier its not really essential.
Heres a quick copy and paste from wiki. Not a complete explanation but theres enough info there.

Process:
The source material is processed using equalization, compression, limiting, noise reduction and other processes. Subsequently, it is rendered to a medium such as CD or DVD. This mastered source material is also put in the proper order at this stage. This is commonly called the assembly or track sequencing. More tasks such as editing, pre-gapping, leveling, fading in and out, noise reduction and other signal restoration and enhancement processes can be applied as part of the mastering stage.

The specific medium varies, depending on the intended release format of the final product. For digital audio releases, there is more than one possible master medium, chosen based on replication factory requirements or record label security concerns.

A mastering engineer may be required to take other steps, such as the creation of a PMCD (Pre-Mastered Compact Disc), where this cohesive material needs to be transferred to a master disc for mass replication. A good architecture of the PMCD is crucial for a successful transfer to a glass master that will generate stampers for reproduction.

The process of audio mastering varies depending on the specific needs of the audio to be processed. Steps of the process typically include but are not limited to the following:

Transferring the recorded audio tracks into the Digital Audio Workstation (DAW) (optional).
Sequence the separate songs or tracks (the spaces in between) as they will appear on the final product (for example, an audio CD).
Process or "sweeten" audio to maximize the sound quality for its particular medium.
Transfer the audio to the final master format (i.e., Red Book-compatible audio CD or a CD-ROM data, half-inch reel tape, PCM 1630 U-matic tape, etc.).
Examples of possible actions taken during mastering:

Edit minor flaws.
Apply noise reduction to eliminate hum and hiss.
Adjust stereo width.
Add ambience.
Equalize audio between tracks.
Adjust volumes.
Dynamic expansion.
Dynamic compression.
Peak limit the tracks.
The guidelines above are mainly descriptive of the mastering process and not considered specific instructions applicable in a given situation. Mastering engineers need to examine the types of input media, the expectations of the source producer or recipient, the limitations of the end medium and process the subject accordingly. General rules of thumb can rarely be applied.

[quote name='mrcrow' post='685626' date='Dec 15 2009, 08:54 PM']



fancy a pint [/quote]
Cracker! The tug bar thing was something i picked up on the talkbass forum. Yanks eh!

Hey steve,sorry for not getting back sooner,had bloody exams today.Seems like BigRedX is on the ball.If its not a grounding issue im stumped. Good luck with it lad, hope it works out for

on the treble side they are referred to as tug bars. as max said they were placed there in the 50's because players switching over from uprights found them useful aids for hand positioning. the fingers were placed on the edge facing away from the player to increase leverage.

Cheers for the reply. they certainly are great looking basses. Personally I find the bart soapbars a little to nasal sounding even with both running wide open. Giving it a good going over on Saturday & I'll let ya know if I buy it.

fender rumble 2x10. insanely loud 100watt combo. on offer in thomann i think.

[quote name='EdwardHimself' post='684030' date='Dec 14 2009, 02:30 PM']why? Surley the more of 'em you buy the better as far as they're concerned, whether that's by wearing them down after a year or otherwise.[/quote]
You do have a point there lad! Dont think I'd use a new warwick on the road though (if I had the cash to get one that is). Chalk it down to experience I suppose?Its not like it got banged up all at once. Live and learn eh.

Opened up jumpin jack. Again, I didnt want to be nicking your work so I didnt save it . Are you planning on more recordings?

not sure if the thicker gauge would give a boost in bass frequencies. increasing gauge is usually a solution to tension issues. maybe some serious eq'ing would sort it out. something like a 32 band. picking on flats will produce lots of clicks.

its tough keeping a working bass in good order.its a hard pill to swallow but its virtually unavoidable.my streamer is so badly beat up after only a year of gigging that if the good people over at warwick seen it they'd probably ban me from using they're products. a lot of the bassists i know are going back to fenders just because they are so damn tough and can take serious abuse.

Hi Oscar.I used to be a real strict practice nut but lately I'm finding it hard to fit it in between uni commitments and practicing with the band. My routine used to be 1 hour of scale and dexterity work followed by an hour or so of jamming along to albums. I also used to spend a lot of time improvising over backing tracks. I feel that the improv exercises really helped forge a personal style. It also broadened my musical palette as I started playing over as many styles as I could. I agree that its important to push yourself when practicing. We should all try and play to our full potential and not settle for merely being able to hold our own with other musicians.If a bandmate or fellow musician sets a high standard we owe it to ourselves and them to at least try and play to the same level of competence.

the only issue I could see with it is you might overload the input, but careful use of the level control would sort it. the heavier tone you use with just a single unit will not be the same on the second vxl as you will have changed the characteristics if the signal by running it through the first fx. unless you want to tap dance around between the two units switching one on and the other off you'll have to do a fair bit of tweaking to get the desired tone with both running.

I only listend to it through crappy headphones cause I didn't want to go burning your cd without asking but it sounds grand to me, a little mastering would even out the levels a bit more. As Eight pointed out its just a little off but its not really that big an issue. Price wise it seems like a good deal, more so if it was your own kit and gear ye used cause it can take an age to get drums miked. If you are going to use it in promo packs I would suggest you get it mastered, it'll probably set ye back about £120ish, but it will sound more polished. Great voice too btw. I'd say ye could do some diamond Fleetwood Mac covers.