51m0n

Well I cant stress what a croc this is enough. There is no way at all of determining the output at the start point at the transducer (ie headphone), or how the headphones in question cope with the extremes of the frequencies. Nevertheless as a bit of fun at least my hearing isnt too suspect (unless my cans ramp up above 2KHz to 20KHz I've done better than I thought), I do know that my cans struggle below 45Hz, and I would bet that everyone elses here do to, I also would not be surprised if they struggled about 14KHz too, but I can only 'sense' the 16KHz signal, rather than hear it through these. I can hear 16KHz through my hifi though....

Get Reaper instead. I'm a lover of all ree and Open Source Software, but Audacity sucks as a multitracking tool IMO - its not even very good as a wave editor really. Pay the minimal license for a copy of Reaper for home use and use a real quality bit of kit for the job instead.

Yup. 2 kids (15 and 5). day job, packed it all in at 30 something started again a few yeas later, 40 in May, knackered every day and cant get into a band properly for love nor money, the singer from blues band that got me going again has just told the drummer that he cant do my birthday bash (we were going to do a half huor set for the crack) wont fess up to me though (what a ***t!). Sometimes I wonder why I bother at all to be honest.

[quote name='derrenleepoole' post='797402' date='Apr 6 2010, 12:13 PM']Hasn't Les Claypool been doing stuff like this since forever? [/quote] This guy has been around a lot longer than Les I'm afraid....

Not sure that is accurate re Berg AE series. The ae410 has a definite slight peak around 1-2KHz, but the crossover and tweeter balance the highs just perfectly. There is plenty there but it is never edgy or unmusical. If you want really hyped highs then EBS should be on your list IMO

[quote name='Merton' post='793244' date='Apr 1 2010, 01:07 PM']Time for a Mert update I guess: [attachment=46170:27032010390.JPG] [attachment=46171:27032010389.JPG] Eden Nemesis NA650 into BFB Vintage. Lovely [/quote] Oooof trouser flappage sir? Suit you sir!

I'd try and avoid putting any effects on to what is going to tape. Its far too far away from the controlled environment you need to be in to work out of you are putting the right amount on for a start. Secondly once the afterglow of the gig has worn off you may discover you need to do a couple of overdubs to sort out some howlers. All made way harder if tere are effects all over the shop....

I got back into playing when a very good mate asked me to dep for his blues band. I can honestly say I loathe 'the blues' as delivered by almoist every pub blues band I've ever seen. But I really enjoyed the gigs with that band, and am really glad that I did it, and really thankful that they asked.

Its just a cold, I could give up, really (sniiiiffff) My partner cant complain, she's addicted to Farmville, 'nuff said!

Dont get me wrong, way back when I had 2 4x10s on top of 2 1x15s all biamped and stereo. Monstrous rig to look at, MONSTROUS to move, better than my current rig? No.....

[quote name='Conan' post='790707' date='Mar 30 2010, 03:38 PM']OK. I was with you up till about the third sentence there.... [/quote] Err the IP stack is shinier, and made of majick faerie powered pixie powder.... Better?

[quote name='Conan' post='790692' date='Mar 30 2010, 03:26 PM']Now this is where I get confused. Most of the "speaker experts" on here and elsewhere tell us that its speaker area that gives volume.... so how can two twelves shift as much air as [b]sixteen[/b][i][/i] tens?! I realise that the Berg speakers are probably extremely high efficiency, but surely MB speakers aren't that bad?! Why is it that as soon as I think I see "the light at the end of the tunnel" with amplification, someone throws me another curve ball?! [/quote] You arent wrong, all things being equal cone area/volume and excursion mean a tick in the W column. But they arent equal, at all. The Berg stack clocks in at a 1000w rig. Then there is the tailor made DSP processing built into the amp in the IP112ER, designed to absolutely guarantee the best possible use of every one of those watts, which automatically recalibrates when you plug in the second cab! This is to bass gear what the latest Nissan Skyline is to super cars. It will win by using as much brains as it does brawn. You may have 16 cones but you are pushing 500w inefficiently into them. Added to that the nightmare comb filtering and phase issues of multiple columns of speakers close to each other and you wont stand a chance I'm afraid.....

[quote name='alexharvay' post='790689' date='Mar 30 2010, 03:24 PM']Buy it. If you find you're not using one of them you could convert it into a canoe. Then paddle down to Brighton, steal 51m0ns Berg IP cabs and then paddle back home.[/quote] LOL! I dont have an IP stack I'm afraid. But I have had a bash on one, and god above do they do the business. I've already stated that my money no object ultimate very wet fantasy rig would be a pair of IP stacks running in stereo off a selection of mouthwatering channel strips (Neve, Summit, even a Joe Meek) and some excessively nice effects. And, for the record, if he comes for the ae410 he will have to take it from my cold dead hands....

Nah, down size to a Berg IP stack, its in almost certainly louder than entire rig would be (LM250 is a piddler after all), fits in the boot of your car easily and will sound a hundred times better...... Then you can spot other bass nerds a mile away as when they check your rig they will be literally green with envy, whilst those who arent in the know will dismiss it until you destroy their Ampeg with your 2 12 rig

To do this 'properly' you need a desk with a monitor section and direct outs (a la Mackie 32:8) and a multitrack recording device (a la HD24) You set your levels to the HD24 completely seperately to the FOH mix, or the monitor mix (which you can run off auxes anyway) and mic everything up. Trying anything else is a recipe for an epic fail for all the reasons sited above.

When I lose myself in the groove I sometimes find I've jutted out my lower jaw so far its virtually dislocated. Gets very painful! I'm really relaxed from the shoulders down too. Weird! I suspect its as a result of wearing ear plugs and finding that doing this lets a little more top inpast the damn things, which is absurd cos they completely fill my ear canal, yet moving my jaw into this painful position does change the amount of top I hear (albeit slightly)) I wouldnt chew gum, I'd almost certainly attempt to inhale it at some point

[quote name='OldGit' post='789299' date='Mar 29 2010, 12:18 PM']ha ha yeah well that may present your credit card with some options too [/quote] Oh yeah, the wood'n'tronics bash will set your little heart alight with GAS, better have some bucks with you!

What you have there is a tired old practice amp. Its not the strings thats a rela problem here, a 40w Carlsbro is going to sound like utter plop whatever you do. Any amp with at least 300w into any impedance and power matched reasonably decent cab will be such a vast improvement as to be fine. 210 vs 115 is not the issue really, if they are good they are good. If you like how they sound at full chat, then they are good. Get a cab with a tweeter that you can attenuate (ickle rotary pot, usually on the back in the control section) that way you can figure out how much zing you need. If you have about £500 to splash you'll be making such vast improvements as to be satisifed for a very long time.

Search for Alex Clabbers post on them, he took them apart based upon the physics alone. If it were such a great design you'd see subs based upon the principle. Truth is it isnt that great a design really.

See my myspace link.... Track 1 & 2 are me 'fiddling about' on the Roscoe with the stock strings....

+1 SR300 (unbelievably ergonmic and easy to get started on) +1 Squire VMJ +1 trying out new & buying 2nd hand One other point, IMO it is a must that whatever you buy, new or used you get the setup checked over and taken down to a medium-low action. As a beginner having a badly setup bass will be immensely damaging to your enjoyment (and in an extreme case it could cause you to injure your hands), making the whole experience far harder, physically than it needs or should be.

[quote name='The Funk' post='786014' date='Mar 25 2010, 04:38 PM']That's what I was originally going for with my band. It works well for some bands. If you have a kind of band philosophy that runs through your band name, look, sound, lyrics etc., the audience might miss out on a lot of that if you don't let them in on it. You have to figure out which way works best for your band. I think we can all agree that dead space works for noone.[/quote] Yup agreed completely

I'd agree with all the above. My only point of contention (if it could be called that) is with number 2. Its even better to have no dead air at all, just run striaght from song to song, zero silence, zero talking other than an brief "Y'alright!" between say the third and forth song of the set... Thats proper hard to do, and tbh I've only seen one local band manage it really well, but they just blew everyone else away whenever they played as a result, the audience energy would just lift with each intersong segue. Very very skilled at their craft they were....

Hmmmmm. Dont think some of this is accurate. The length of the string that matters is the length from the nut to the bridge. Not the length from the tuner head to the ball end. Since those extra lengths on each end are not part of the vibrating string. The tension required to get the string to pitch is dependant on the length of the string (as described above), the active part of the string if you will, the pitch you want it to get to, the material that the string is made of, and the construction of the string. I could have 2 miles of string from end to end at a .105 gauge, if I have a 34" section in the middle of it, then the tension required to get the string up to pitch in that middle section will be the same as if the entire string length was 38". The excess length is not relevant since the length of the vibrating node is fixed. The longer that active length is the higher the tension required. So a 35" scale length (nut to bridge) requires more tension than the exact same material, gauge and construction string on a 34" scale length neck. Not much more though. Angle over the bridge makes virtually no difference to the tension, string through thte body will make virtually no difference to the tension, have a straight in line 4 or 5 tuning pegs on the top verse a 2+2 or 3+2 headstock, will make no difference. To the tension on the string at a given pitch. Whether these make some measurable differenceto the tone is something you can all argue about for days - I dont think it really does, compared to something more fundamental like string material density and construction. Dons tin hat, gets into bunker and waits for the shouts of "incoming!".... :ph34r:

[quote name='Bassassin' post='784839' date='Mar 24 2010, 04:14 PM']Afraid I can't take credit for that - I think that's courtesy of Mr Foxen. However: Badly Engineered Hopeless Ripoffs Involving No German Electronic Reliability. J.[/quote] Oh touche, I was trying to get one for that!