SPHDS

Hi, this is probably a no-brainer/stupid question, but wanna ask before going ahead and ruining the bass......! I snapped a string last night at a gig (no biggy, had a standby bass on hand (until a string went on that too, luckily on last song....!) Anyway, am in process of replacing the strings and the nut fell out (bass is an Epi Explorer with brass (I presume!) nut) Do I:- i) Restring leaving the nut to be held in place by the strings (string went at the bridge) as it seemed ok before taking the strings off (know some basses/guitars have 'floating bridges' that are held in place by strings....is there such a thing as a 'floating nut'!) ii) Glue it back in place using superglue (got some Loctite....) iii) Ditto with wood glue (if I can find some in the pile of materials downstairs....!) Any help appreciated, sorry if it is a idiotic question! Sam

The band I am in have, on occasion used a recording of one of those mad ranting American TV Evangelists decrying Rock music as the work of the devil, followed by the theme from the Sweeney......!

Yep looks very much like a Squier MB-4 to me. Never seen them in dark cherry, usually black, or matt silver/grey, and they did do one with a massive skull and crossbones on too - [url="http://www.dv247.com/assets/products/40774_l.jpg"]http://www.dv247.com...cts/40774_l.jpg[/url] Hope that helps......!

I might be totally talking out of my hat.....but what about a switch pot - push/push or push/pull to switch between series/parallel (my father has one on his s/s/s strat, turning bridge and middle into a humbucker) Then all you need is a three way swtich - P/PJ/J (that way you may even be able to switch the P between series and parallel, like an S-1 switch does on the Fender American P bass.....!) Hope this is of some use, if not sorry for waffling! Sam

Cheers boys, The idea is, as FlyFisher deduced, to add another cab to my existing rig (an Ashdown Combo), which is running at 8 Ohms with the internal 2x10s, I have seen a few cabs for sale (1x15/2x8, 1x15/2x10 combinations...you get the idea), but they all seem rated at 4ohms. So if I rigged a 4ohm resistor is series would it really sap loads of power, seeing as it is already running at 8 ohms on it's own? Or would it just be worth me just finding an 8ohm cab (I really was looking for a 15" to compliment the 10's, but these combined cabs are pretty cheap and was wondering if it was worth the bodge.....!) I know I could just disconnect the combo's speakers and run through the other cab,but almost seems a waste of a good set of speakers into the combo..... And finally.....sorry, I'll shut up in a minute......I know there is a lot of debate on this and it will probably run and run.....but would it be better to pair the existing 2x10s with a 15", or would this muddy the sound, and should go for more 10s, or would a 15 add a better bottom end.....! Cheers Sam

As the title says, this is a (probably very stupid) question about bass cabs and their impedance. I know you shouldn't go below the minimal impedance of an amp (i.e.if the amp is rated for 4 ohm minimum, don't run it with an 8 and a 4 ohm cab in combination, as this will make a 2.67 ohms set up...unless you want fireworks) My question is, is it possible/simple to make a 4 ohm cab an 8 ohm cab? Cheers, and sorry for any stupidity.......! Sam

The is also my main Axe: -

Slant looks like someone took an angle grinder to a Fender Roscoe Beck IV, still great looker though!

I think they are 'regular' (reverse) shape, but they have a different shaped pickguard on them which can make it look 'non reverse' (I had a post on here (I think!) about Leon Wilkinson of 'Skynnyrd using one, which was actually one of Ox's......!)

Fair point Steve! So.....what is a good cable? (bearing in mind I want something good value and reliable rather than something 'Gold Plated and Diamond Encrusted') but would also like to avoid something made old Coke cans and tin foil.....!

Cheers, again Phil! The matching idea did seem a bit of a.....hassle.....but hey ho, new mic time! Ah ok, re. polar patterns, we don't actually have any monitors.......just vocals and kick into desk and PA speakers. I am keeping an eye on a couple of mics (Senny, AKG, Shure) on Ebay, seeing what they go for, and see if I can pick up a bargain, if not may just plump for a XM or Samson......!

Cheers Phil, very helpful and informative post! Does add more candidates and throws up a few questions though......! I get the impression Cardioid is preferable to Super-Cardioid. Is this basically because the former has no pick up from the rear. and if so, how much of an issue would that be? Also this Matching transformer idea sounds interesting, would it really make the mic work well or would it just magnify the shortcomings as well as boost the output.....!?! (also how does one go about it......!?!) Beta's seem quite a bit dearer than the standard 58's too.....! How do SM57's compare to 58's?

Don't know if it will be any help at all, but have you looked on ebay? They have a variety of knobs that may take your fancy, some of them have sleeve adaptors to fit, others have grub screws that help them fit......! Hope that helps!

Cheers Lozz, those were the Behringer's I was alluding to.....! Don't quite know what my voice 'equates' to range wise, as have only just started doing BV's just know that the old PE515 ain't quite up to it (people say they can see my lips moving but hear nothing, even with the mic turned up top whack....!) Most of the places we are playing we provide all the kit, so no 'house' equipment to fall back on....! Shame I don't have a couple of mics to borrow to compare what they are like in 'full throws band mode' (a lot of things can sound great on their own, put them in the mix and they sound dreadful.....!)

Short and to the point! Thanks! What is the advantage of XLR over 1/4" ? (just out of curiosity....!)

Another question to add to this (minor) can of worms.....I presume I want an XLR-XLR cable as opposed to an XLR-1/4" jack cable? (both seem to be advertised for sale with microphones) or does it not really matter? Looked up the impedance thing it seems that most mics nowadays are low impedance as they give better vocal response and are now able to be produced at a reasonable price, also they are better as there is less signal loss over cable length when compared to high impedance. (although some super cheap (as well as some specialist....) mics are still high impedance......!) Are Behringer any good, (seem cheap and got some good reviews) or are they the Encore/Stagg of the Microphone world....!?! Will check with the band what mics they are using too.......!

Ah, thought that might be the case, just trading on a name, but made of tin cans and elastic bands......!?! Just thought I'd check though......! So basically I need a low impedance microphone I take it?

Cheers, will keep an eye out for them. What are Shure PG58's like? (they seem quite reasonable......) Are they any good, or are they the Microphone equivalent of a the New Beetle or Mini (trading on a name that is brilliant, but quite frankly not worthy to lick their boots.....!?!) I used the drummer's mic for a practice once and that seemed ok (think it was an SM58.....!) level wise at practice, just meant that because I won't be bellowing down the mic, something fairly quiet ain't going to be much help.....! (also does impedance have much to do with it - read that the PE515 is high imp. and the SM58 is low imp. is that where the problem lies?) Sorry if I am being a tad blond......!

Sorry if this has been done to death, but........ I have started to do backing vocals for a band, and the microphone I am using (a Shure Unidyne PE515) which belonged to my father [url="http://i.ebayimg.com/00/s/MTIwMFgxNjAw/$(KGrHqR,!pwE9eGeBW0ZBPZWjYi-Z!~~60_57.JPG"]http://i.ebayimg.com/00/s/MTIwMFgxNjAw/$(KGrHqR,!pwE9eGeBW0ZBPZWjYi-Z!~~60_57.JPG[/url] is, whilst looking pretty good, just not cutting it in the mix (apparently it is turned up twice as high as any of the other mic's on stage and is barely audible (plus I am not the loudest of singers anyway.....!) So I was wondering what to get, I know Shure SM58's are the go-to/industry standard/creme de la creme of mics, but they ain't cheap.......so was wondering if there were any others out there to consider that may not cost as much, but do the job...! Cheers for any help......!

I'll second taking a spare, as I found out a couple of weeks ago when a string let go one song into a set......luckily had the spare up and ready, so it was 'click, clunk, rock!' and on with the show! (and it shut up the singer who had kept on saying 'why do you need to bring two guitars along (I'll let him off the faux pas, he doesn't know any better....) if you only play one of them...!?!')

[quote name='KingBollock' timestamp='1337718286' post='1664564'] Not a box full but I do have a Jack Daniel's cigarette case full. From the ridiculously thin and flimsy, upto 3mm Big Stubbies, and alsorts in between, including reshaped coins and washers, and metal finger and thumb picks. [/quote] Yep me too, which was what disappeared off stage during the break at a gig.......! (perils of being set up near the facilities!)

Used to have a load of Pink and Purple Dunlop Tortex's (can't remember what size they were, but fairly stiff) until they mysteriously all disappeared from the stage at a gig during the break.....! I am now using a set I got off Ebay, dunno who made 'em or what thickness they are, but they work and seem to last! I am currently using a white one, as you spot it when you drop it.....which is my only complaint, they can be a bit slippery when hot.....!