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HERE

Thanks mate, here's a better one from a similar angle

I have dug out the scan of my article about Basschat's collective interview. I could obviously have written dozens of pages, but I had a strict word count to adhere to. Herbie Flowers interview BGM 139 Feb 2017.pdf

Officially finished 👍🏻

As a cable maker I often get requests for 4mm speaker cable to connect heads to cabinets, usually 0.5-1m in length. I always advise that this is both expensive and unnecessary. Here is my explanation. The reason thinner cable is OK for shorter lengths is the lower resistance/impedance. The current carrying capacity becomes the most important here as over 0.5-1m it is irrelevant for most cable CSAs. I always argues that 4mm is way overspec'd for bass heads to bass cab connection. The cable current carrying capacity is far higher than even the speakOn connectors and the output of bass amplifiers. 1mm = 10A 1.5mm = 16A 2.5mm = 25A 4.0mm = 32A 10A at 4 ohms = 400 watts 16A at 4 ohms = 1024 watts 25A at 4 ohms = 2500 watts 32A at 4 ohms =4096 watts If your load is 8 ohms the power limit is twice those figures and remember that these are continuous ratings at 25C. If you look at Sommer Meridian Mobile speaker cable, the resistance is 7.5 ohms per kilometre or 1000 meters. So the resistance is less than 8/1000s of an ohm. So of 2500 watts you would dissipate just under 5 watts in the cable of 1 metre. Of course none of us are using 2500 watt amps... 4mm cable was is useful for those massive line array PA systems but not useful for bass amps IMHO. So why do I recommend 2.5mm and why not mains flex of the same size and rating? Well I have it in stock. However the real reason is that the Sommer Meridian Mobile cable 2.5mm is very flexible, unlike either mains cable or many competitors speaker cables. Sommer use 140 strands of copper while some well known competitors use 50 in their 2.5mm cable. So they bend more easily and are a delight to use.

Acoustic gig this weekend. I hope they comp those BBQ ribs like last time. Daryl

It's here. Very quick look and noodle at lunchtime suggests that it's very well put together with no obvious issues. It sounds great so once again I may just leave it as stock per my JJB-300. The neck is great and definitely different to their Jazz bass as I had thought that they might have done just one neck for both (like the Squier Silver Series basses). Mine is just under 8lbs (3.6kgs) so super usable.

Frets have come up lovely…. Next up, an overnight soak in Monty’s ageing wax….

I smoked a fair bit of puff back in the day, although I never partook before playing -- it was a nice way to wind down after a lengthy Saturday afternoon rehearsal though. Quick story with a bit of current relevance: back in the day we used to rehearse at Angie's in Wokingham, we'd spend all of Saturday afternoon there and then pack up & leave in time for the evening's band to load in. One afternoon we'd finished playing and were just having a chat when a chap walked in through the door -- he was in shadow so I couldn't see him. He apologised for interrupting, saying he was with the evening band but realised he was a bit early and could come back later if we wanted. We said it was fine and that we were done. "Great, thanks" he said, "oh, my name's Herbie by the way..." as he walked out of the shadows, and my mind went oh my god that's HERBIE F***ING FLOWERS and I nearly fell over myself to go and shake his hand. He was a lovely guy and chatted with us for a bit, and then there was a lull in the conversation. He sighed and said, "well I don't know about you, but I'm going to skin up..." He rolled two tiny spliffs of this ridiculous grass, smoked one himself and sent the other round the band, my god it was wonderful stuff. Herbie by name...

I made a few changes because of the next gigs that I have. I removed the Wireless and the Midi controller, since I won't need them. The comp is back again and it will stay. I added a tuner because I like to have a mute switch.

I have a surplus hard case for a bass, it'll take a MusicMan SR5 and so should be fine for most 34" scale basses. It came with my Thumb NT5, but is too big for the small body, and I've just scored a very cheap Warwick flight case for it. In good nick, all the catches work but there's no keys. Collection only please, I'm near Heathrow, London.

Thanks mate, there were some less flattering close-ups I must say! (Note to self, SMILE!)

The video points out that at the tuned frequency cone movement is at a minimum, while port output is at its maximum. However, one cannot assume that 41 Hz gives the best result. That you determine with modeling software. With most bass cabs the best result is around 50-55 Hz. He also gave the manufacturer too much credit on the port sizing. They're much too small. His methodology is off as well. To find the exact tuned frequency you use a sine wave generator, slowly sweeping the frequency until the cone movement is at its minimum.

Nice!!! 😍 I hesitated between this finish and the natural. I think this is the better looking one but I really wanted the maple fingerboard... Mine (5-string: Z7-5) arrived about 30 min ago... I haven't plugged it in yet because I have quite a bit of work to do still and I know what would happen But I'm very impressed. I had experienced Sire's rolled edges before, but I had forgotten just how nice that is. As I suspected from looking at the pickup and the polepieces, the string spacing at the bridge is 17.5mm, just like a Stingray5, which is perfect. The Z3-5 looks like it'll be a 16mm one but I haven't seen conformation yet. The neck is soooooo nice. And it weighs exactly 9.0 lbs, which for a 5-string is pretty good. I'll take a couple of photographs later... now I need to focus and finish work!

That diameter is far too small, so you'd end up with port air mass velocity that's too high, resulting in port noise. For two tens in an average size cab with 50Hz tuning the minimum required port diameter is 12 cm, or a pair of 8.5 cm.

I've just realised that I haven't posted my setup in this thread, so here it is: I've gone wireless since this photo was taken. The computer which is our drummer and second synth player also takes care of Preset and Snapshot changes on the Helix which leaves me free to concentrate on playing and throwing some shapes on stage, also in some places on a few of the songs the Snapshot changes come every two bars which is too complicated for me to get consistently right when done "manually". The footswitch on the left controls the playback - centre for start/pause and right for close current song and load the next one in the set list. I (and the rest of the band) no longer bother with backline, although I have a powered FRFR cab that I occasionally use for rehearsals, as with the Bass VI I'm playing both "bass" and "guitar" parts and any rig provided is very unlikely to be able the handle both types of sounds. Therefore I go straight into the PA via the EMO DI box. These days we only play venues with a big enough PA to get the programmed drums up to proper drummer volume and they always have monitoring good enough for me to be able to hear what I need.

This is ace. Full run through of his di rig for bass guitars, DB, and synth, all with playing examples. Few anecdotes about when things have gone wrong too.

One thing I didn't like much is teh pickguard shape... but the routing is reasonably clean Passive tone control doesn't go as dark as I'd like, I might change the capacitor... however, while playing around adding a bit of the neck pickup while rolling off the passive tone and the treble control I found some really tasty sounds, fat and rich... This is a lot of bass, and not just 'for the money'.

Landed a second BBII cab today.

The Darkglass corner

Be wary of claims of "quiet fans" many cut the noise by running the fans slower. There are two types of fan noise, one is turbulence, the blades disturbing the air and the other is vibration. In my empiric experience, vibration is the worse of the two. A better fan will vibrate less but it is the mechanical coupling with the chassis that causes most of the noise. I have used the Akasa mounts and they do reduce this mechanical vibration. Of course a better fan will also help.

I think there is a overly romanticised view of drugs when it comes to rock 'n' roll. Over the years I have worked with a handful of drug users and they are generally a pain in the **** - not as creative as they think they are and pretty unreliable. In the 90s, we had a guitarist who was permanently smoking weed ("only weed") and he'd have to give me his money to cover rehearsals at the start of the month or he'd spend it on weed. We'd then get to middle to later in the month and he'd be calling me up asking for a loan. Every month it was the same, we'd debate it for an hour with me reminding him of what happens every time, only for history to repeat - he'd then get angry with me when I asked for it back "it was just a fiver, not a tenner", only to eventually remember that I wasn't a liar and it was as I had written it down. Unsurprisingly, I don't miss that! These days I work with a few musicians who have issues around alcohol and I have to say it is the same. Some really talented players junking 1/2 a day of recording because they listen to the play back. I find it staggering when good musicians practice all the time and then when they go out, they blow it for themselves. I hasten to add most musicians I work with these days are focussed and creative. Have a pint, smoke a spliff (if you have to) but just keep your act together!

I might be wrong, however I’m pretty sure that the one you have got there is the DJ-Retro preamp made specifically for Lakland Darryl Jones signature basses that have a longer, slightly slimmer body than normal Jazz basses - where’d you buy it? (Photo below from website 👇 The DJ-Retro is the only one that has two diff colour knobs on the concentric pots). I’ll swap it for a J-Tone preamp that will fit the Sadowsky if you’re stuck 😁

With OEM drivers, you can't assume that it has anywhere near the same TS parameters even if it looks "identical". The differences can be huge, thus impacting any modeling accuracy you hope to achieve.

Drugs certainly make it easier to listen to the songs I've written.

Of course, rough trade around Denmark Street used to mean something very different ...

It's all gone a bit silly... In size order: SWR Working Pro 10. Great little wedge combo, doubles up as an onstage monitor. Top quality amp, only 100 watt output though. Decent for gigs giving a quality signal to FOH and surprisingly audible over a loud drummer. Fender Bassman TV 12. A recent purchase, valve combo in yellow tweed. Really nice traditional sounding amp. Has enough about it to be my onstage amp for festivals with decent monitoring. 150w output. Sounds delicious with the gain maxed. Bought after the Marshall head this summer just kind of "because". It has had a few gigs this summer though! Marshall DBS 7200 head. Blendable solid state and/ or valve pre amp. Phenomenal sound. 200w output but peaks at 2000w. Bought as a "spare" but has already seen a few gigs running my Ashdown cabs. Bought this summer because I really wanted one in the 90s but couldn't afford it. Ashdown ABM600 Evo IV head and 2x Ashdown ABM Neo 15" cabs. The dogs danglers. Highly versatile amp with more power than you could ever need. Really, I don't need any of the others. I like having a practice amp and some different stuff to pique my interest every now and then though. This sees the majority of my gigs.

The fan stopped working on my GK RB200 , things heated up and the ICE power module got fried. At the time there were not that many other 200 watt mini amps. I looked for a replacement and decided the RB200 was exactly what I wanted. I got it repaired. So I’m reassured whenever I hear a fan come on today. The sound does not bother me. But the Elf fan is loud , and starts right up.

The Caterpillar - The Cure

Exactly this, without the parameters you are down to guesswork. There are drivers designed for ported enclosures and drivers that won't work well plus a few 'general purpose' drivers that will work in either, the problem is that without the specs you can't do the modelling. It's possible Ashdown didn't match their speakers to the cab but more likely that they did. The things that can go wrong with mis-matched drivers are well explained in the previous six pages of woe and blown speakers. Power handling is reduced in a mismatched cab. It could be OK but no-one can be sure so you'd be taking a bit of a risk. If you really want to do this then your cab is just over 50litres and 10CM dia port 11cm long would tune it to 50Hz. You might be better off selling the cab and buying one that sounds the way you want but if you are a tinkerer then I know no advice will stop you from trying it. Good luck, you might like the result but message me if you do blow the speakers and we can look to see if we can find replacements

If you remove the tweeter and don't replace it with a port of the correct length and area you'll likely make things worse. Getting it right requires modeling, not just to find the correct tuning frequency but also acceptable port air mass velocity. This assumes the driver will work well in a ported cab at all. Many drivers are compatible with both sealed and ported alignments, but those which are ideally suited for the one are not suitable for the other.

Same here I checked this morning and it said it hadn't been scanned yet... but a few minutes ago I checked again and they had updated everything... expected delivery between 3-4pm...

Fixed!

Do drugs make you a what..? Whatever, man; leave that sh** for serious talk over a spliff, not here where some of us are trying to concentrate. Now then; what was I saying..? Ah yes. The question of... What question..? No, man, it all comes down to the question of whether drugs make someone play better, presumably referring to playing a sport or game, a complex one that requires us to consider various factors. Performance enhancement in sports is a topic surrounded by ethical debates and regulations, and the term "better" is subjective and can refer to different aspects of performance. Firstly, let's differentiate between types of drugs: 1. Performance-enhancing drugs (PEDs): These are substances that are specifically designed to improve athletic performance. They can include anabolic steroids, human growth hormone, erythropoietin (EPO), and various other stimulants. While some PEDs might provide a temporary or artificial boost in certain physical aspects like strength or endurance, they come with significant health risks and are typically banned in professional sports. The use of PEDs can lead to unfair advantages, which is why they are often vilified and regulated. 2. Recreational or cognitive-enhancing drugs: These might include substances like marijuana, alcohol, or certain prescription medications used off-label for performance enhancement. The effects of these drugs on performance can be varied and unpredictable. Some may claim to improve focus or reduce anxiety, but they can also impair coordination, judgment, and decision-making. Now, let's consider the factors that might influence the relationship between drugs and performance: - Physical effects: Some drugs may increase physical capabilities such as strength or endurance, but they often come with risks such as increased heart rate, blood pressure, and potential for injury due to overexertion. - Psychological effects: Drugs can alter a person's mental state, which might affect their performance in a game or sport. For instance, they might reduce anxiety or pain perception, leading to increased risk-taking or playing through an injury. - Legal and ethical considerations: The use of banned substances can result in disqualification, suspension, or even a lifetime ban from competitive sports, which can significantly harm an athlete's career. - Long-term health: The long-term use of certain drugs can lead to severe health issues, including organ damage, addiction, and mental health problems. - Consistency and skill development: Athletes and players generally achieve peak performance through consistent training, good nutrition, and rest. Reliance on drugs might overshadow the importance of these fundamental elements. In conclusion, while certain substances might offer temporary or specific performance benefits, they often come with substantial risks to health and career. Moreover, the concept of playing "better" extends beyond just the physical aspect; it includes fair play, adherence to rules, and the holistic development of skills and strategy. Therefore, it's not as straightforward as saying drugs universally make someone play better. In most cases, especially in professional settings, the use of drugs is discouraged and often illegal, as it undermines the integrity of the sport and can lead to negative health outcomes. The safest and most sustainable way to improve performance is through dedicated training, proper nutrition, and rest. ... or something.

I got mine, but couldn't find my glasses to read it.

Been a couple of times that Imodium has seen me through a gig? 😄 (Comfortably bunged!)

Vanderkley 210MNT + 210LNT (2.7 ohm total) + Glockenklang Heart Rock II = 1000 watts of Glockenesque Klanginess.

Not sure why you would want to keep a track of everything you owned! My stuff is all insured though, so I could probably search emails for serials for things I had, and I have a lot of photos of everything, but once I no longer have something I am no longer interested in it, so I wouldn't put any effort into it

I find not selling anything helps to keep track of what I've owned. Definitely doesn't help the bank balance though. 😉

Just played at Nene Valley rock festival. It’s a fantastically organised and well attended setup, volunteer run and not for profit. This year it was in the grounds of Grimatone Castle. Three stages, lots of food and drink and the weather was perfect. We had a 45 minute set, my second gig with the band (Genius The Fool). For some reason we didnt get a sound check so we jumped right in, and I couldn’t hear the keys very well. It sounded like why applied reverb to the whole mix or something. Anyway it sounded ok out front and the other bands I watched on that stage were great (Especially Haze who were amazing… bassist had a twin neck Shergold (bass and 12 string guitar) and a Sei five string). I was really pleased with how we played overall. I made a couple of errors but stuff only I would probably notice. I don’t gig that much so whenever I consciously thought to myself ‘smile and look at the crowd’ it threw me a bit but by the end it was feeling really natural. I think we had about 70 people in the audience, probably one of the better crowds of the night (I think the band have a bit of a following, I’ve only joined recently).