Chienmortbb

I had a problem the other day with my sound. I hit the bypass foot switch and was almost surprised when it sounded great. Has anyone realisd that one of the sounds they need is that one in their hands?

1. Rich - Trace Elliot TE-1200 amp, Barefaced Super 12T cab, earplugs , Shuker custom 5, Tanglewood TRB-CE acoustic bass gtr. 2. Woody - Rickenbacker 4004-L5, maybe Sei Flamboyant, Same old basschat 12" with some amp, other stuff TBC 3. Pinball (tbc) - some interesting basses 4. Stubsy - Joyo BadASS, GRBASS AT212 slim - only 50W but that should give 120dB at one metre 😇. (or I bring my TE 1110 combo). Some fun pedals. Perhaps the AVII 1960 precision, the Sire P10 and maybe the Fender Performer and something unexpected... 5. Sean - Mesa 400+, Laney Nexus Tube 400 [oh jeez], MJW Taranis 200 (Filthbox Matamp clone with extra channel and EQ), GK MBF500, GK Fusion 550, 2 x LFSys Monaco, 2 x Japanese Market Spector Euros with LHZ-03 preamps, Valenti #005 Super P, Yamaha BB1300, my small but well-appointed pedal-board (Origin Cali 76, Origin DCX, Aguilar Chorusaurus, etc) plus a mini walk-in bass surgery if interested. Plus whatever I might be selling at the time. 6. Rosie - likely I'll bring my upright, set up for bluegrass/folk/jazz if anyone's not played upright before and fancies a go 7. Phil - BassChat cabs, maybe some sort of shootout? 8. MikeD - Laney Digbeth, Zilla 212, Dingwall Combusion, Revelation PJ, pedals, try to finish home made bass🤞🤞🤞🤞 9. neepheid - G&L CLF L-1000, Yamaha BB1200, Sire D5, Sire Z7, Greco LGB-700, Reverend Triad, Epiphone Les Paul (not so) Standard, Epiphone Thunderbird '64, Squier Jaguar H (with Ibanez CAP double humbucker from ATK200/800 etc), Gear4Music rat bass (with Lace Aluma-P), £150 giggable bass challenge, 1 or 2 amps depending upon space... Edited Monday at 15:17 by Rich 10. Jabba_the_gut - Status 3000, Status 4000, Stingray 4, USA Sub 5, Markbass Tube, some pedally bits inc Valeton GP5 cheaply thing 11. Japanaxe Precision(s) & Dingwall(s) DIY 100W Bassman head if finished by then(!) as people seemed to like my B15 clone At least 1 other amp (see sig) 12.chienmortbb - Fender Aerodyne AJB65, G4M pretend aerodyne, Sire Narcus M2 (possibly for sale. Ashdown Restoglide 800 and Bugera Veyron 1001M, LFSys Monza cab. Possibley a number of accessories for sale. I might have to rrim the list as I am due an op shortly and am not allowed to lift anything for 6 weeks. You will notice me as the bloke with no trousers.

These look like quality cables, but they use some of the same claims that snake oil audiophile cable makers. Copper cables are not directional, Also on one or more cables they have used heat-shrink over the end of one plug. There is no need to use heat-shrink on a decent plug. There are few cables that are really low loss (although the loss in HF is usually not crucial for Bass). These include Sommer Spirit LLX, Klotz AC110, Van Damme Silver Series Lo Cap all have very low capacitance hence low loss. The most expensive of these is the Van Damme at just short of £11 per metre. I cannot see where the extra cost comes from, as they proudly say they do not use gold. Those must be some special jack plugs.

Many people cannot say it properly.

Hi Alex, All these recommendations on here will serve you well, however, avoid the Vovox cables. Snake oil at best. To start with, especially in an instrument cable the most important part is the cable. Whether is low loss or ease of coiling. The other thing to keep in mind is length. I sell three types, Sommer Tricone 2, Sommer Tricone XXL and Sommer Spirit LLX. Over 6 metres I would always use the Spirit LLX, it is very low loss and coils really well. It is a bit thicker than the other two, but that is the price you pay for low capacitance, low loss. The upside is it is so easy to coil. Up to 6 metres, you can choose either of the other two. The Tricone 2 is a nice cable and recommended for general use, the Tricone is slightly stiffer and as a result does not twist or tangle as easily as others. Connectors, for instruments, if you want a cable to last, use Neutrik Jacks. They use conductors that are made from a single piece of metal. One of the biggest failures in jack plugs/cables is riveted plugs. If you are going to be a bit rough with your cables, chucking them about etc, avoid Silent Plugs. XLR/ Balanced cables. By using balanced cables, you avoid many of the issues of the ones noted above for instrument leads. Again Neutrik make the best XLR connectors, although the choice of make is not so crucial here. For cable, I stock two types, Cobra, a budget cable and Sommer Stage 22 thinner than the Cobra and slightly better specified. I will send you an instrument lead price list later, and can give you a quote for XLR cables once you tell me your exact requirements.

That is the usual recommendation for HiFi speakers but they are in quiet rooms. 20 is fine for a bass cabinet in my opinion.

I think this is key, no matter how good any of us are at playing consistently, I for one are crap at that, so a looper will take the variable out of the mix. Of course the size of @Phil Starr’s banner is limited so it would be hard to hide an Ampeg fridge stack. It is also difficult to compareFRFR cabs against this with the “Olde Skool” sound of older cabinets of the BF110. We must also keep in mind that the this will be as impartial as possible but it is not going to be definitive, it should be thought of as informative. Not to belittle the tests but it also needs to be fun. It will give you pointers and expand your knowledge, maybe helping your future purchasing decisions as part of a process.

True, but whether the BB3 is FRFR depends on the tweeter setting on the cab. It cannot be flat at all settings and IMO EQ/Tone happens at the bass and/or amp, not the cabinet.

Just landed in my inbox, thoughts? https://youtube.com/shorts/FK6B7kPO5Wc?si=KTrM1smCbpEEXvQB

Judging by the pictures, you are very close to the edge of the fingerboard on the G side already, moving the bridge might be risky.

I was also going to recommend Armstrongs. Kent Armstrong was Dan (Danelectro) Armstrong's son so his dad knew a bit about Lipstick pickups.

Last night I set the gains carefully and gut all three vocal mics sounding fine. However the monitor sound was distorted. Floor monitors were passive and driven from one channel of a power amp. We were not using channel B but last time I used it I used channels A and B with Channel A input paralleled to Channel B. I could see the signal light on Ch B flashing so turned the level down on that and the distortion went. It does not make sense to me but we finished setting up in good time and had a great gig.

Not last night, but last week. We played a garden party at the drummers house/garden, all fairly relaxed, and so I took the little Behringer analogue mixer. WE took great care in speaker and mic placement and for once had bags of headroom before feedback. Monitors nice and loud for lead vocals and although I could not really here the BVs well, I was not bothered, it was a bit of fun. We had a quick listen to the FoH vocals without the band usually, and it seemed OK. We usually wander out front during soundcheck, but not this time it was for fun... First set went down well, but the sound was described as "sizzley". I listened to the speakers with no signal and there was a pronounced hiss. Not too bad, I thought, so I carried on and set up a camera to record the second set. All was well, lots of nice comments. When I played back the video yesterday, I realised that the gain on the Guitarist's mic was up way too high and because the monitor mix was wrong, we did not realise that he was clipping badly. That was the sizzle reported. Another lesson learnt, thankfully not on a paid gig.

This is odd. There is no reason that the singer should get a shock from a mic unless there is a fault on the mixer and that would be unusual. You need to measure the voltage between the mic grille and earth. It should be very small, millivolts ideally.