BOD2

What kind of desk ? How many signals do you need to splt ? Are the signals mic signals on XLRs or line signals on jacks ?

[quote name='Phaedrus' post='151679' date='Mar 5 2008, 01:18 PM']Anyone got any opinions or comments?[/quote] You have too much spare time on your hands, coming up with all these fancy diagrams The only potential problem I can see is that in option 2 the signal going into the Hartke VXL is a line level signal from the amp's DI and not an instrument level signal from the bass. Will the Hartke be OK with that ? If you're not sure then make sure you keep all the levels low when you first try it out. Other than that, both options should work, they just might sound a little different, in which case experiment to see which is best.

Another way to do it, especially if you hang more than one bass, would be to screw a horizontal wooden batten across the wall. Screw the battern into the wooden noggins inside the wall (or use heavy duty fixings). Once the batten is securely fixed you can screw the bass hangers into the wood of the batten, without using plugs of any sort. It's not so pretty, but it is very efficient. You can use big screws/heavy duty fixings for the batten and you don't have to worry about screwing into plasterboard two holes that are very close together etc. And if the batten is too long it's always an excuse to buy a new bass to fill the empty space.

Apparently the transmitter (not the receiver) has a "trim" control on the side. The manual advises as follows - "For INSTRUMENT: While playing the instrument at typically loud levels, check the AF peak indicator on the receiver. If AF peak indicator is easily illuminated and distortion is heard through the system, it may be necessary to adjust the transmitter audio input level. To adjust the transmitter audio input level, gently turn the instrument trim control counterclockwise until the AF peak indicator is illuminated only on audio peaks" [attachment=6063:AT700.jpg] Does this make any sense ?

I've never used either of these, but do they have input gain controls on the receiver ? You might need to reduce the gain to compensate for higher output.

[quote name='bremen' post='148284' date='Feb 28 2008, 10:38 AM']No, you can't do this - the insert returns cut the bass signal. I wanted to do the same with mine. Why won't Vista let you download Behringer manuals? XP loves 'em.[/quote] I hadn't tried this ! In that case the easiest way to go might be to get a small mixer. Put the V-Amp into one channel, the iPod into another channel and then the mixer output into your amp or headphones. Gives you complete control over levels etc. and it's always handy to have a mixer kicking around. This would do the job [url="http://www.bluearan.com/sales/behringer/2nd_HAND_-_Behringer_UB502_Mixer.htm"]Behringer UB502[/url] or you could search eBay for something similar.

The V-Amp Pro doesn't have a dedicated "aux in" socket. It does have stereo "Post DSP Insert Return IN" jacks, though. These are the returns for an FX send/return loop for connecting an external FX processor. The arey "post DSP" which means any signal insert there will not be altered by the signal processing of the V-Amp. There's no relative control of the volume - that has to be controlled by the device being inserted at this point. You should be able to connect an iPod there (using a suitable stereo mini-jack to dual mono jack adaptor) although, as always, keep the volume of the iPod very low initially and bring it up slowly to make sure it doesn't overload anythng. I've got the manual on PDF - there's a 2.5 MByte manual and a 6 MByte diagram page. PM me with your email address if you want and I can email them to you.

For a rehearsal you want to watch the volumes so watch you don't get into a competition between yourself and the the band members all turning up trying to be heard. Try to rehearse with the volumes as low as possible (this is usually limited by the drummer who can't really turn down !). It's better for your ears and it makes for better rehearsals as you don't get volume fatigue. If you're still quite loud consider wearing ear protectors - you don't get a second chance with your hearing. Putting the cab against a wall will give it some extra volume, as will putting it in a corner (but see above !) Lifting or tilting the cab to point to your ears rather than your knees is probably a better strategy. Also, in a small room you can sometimes get areas where the bass is louder or quieter - move around a bit and make sure you're not standing in a quiet spot.

[quote name='andy67' post='147629' date='Feb 27 2008, 09:46 AM']Not to everyones taste...however; Journey are playing The Clyde Auditorium in Glasgow Friday 20th June 08! link here: [url="http://www.ticketmaster.co.uk/artist/735415"]http://www.ticketmaster.co.uk/artist/735415[/url] Great band with some great, great songs! Stone in love Whos cryin now? Dont stop believing superb![/quote] I saw them at the Glasgow Apollo in 1979 with The Pat Travers Band (where did those years go !). Great gig. Both acts were very impressive.

Maybe we'll have to start a new forum - "Pedal Porn" ?

[quote name='Mcgiver69' post='146828' date='Feb 25 2008, 06:54 PM']Thanks BOD2 for this piece of good article I'm eternally grateful.[/quote] Cheers, mate

Quiet at work today....here's a simple diagram for a basic footswitch. [attachment=5937:Footswitch.JPG] You can get more clever and add a battery powered LED to show which way the switch is connected. To do that ypou need a DPDT switch, an LED and load resistor, and a battery clip. [attachment=5938:Footswitch2.JPG] The value of the resistor depends on the LED but you can usually find a little formula that allows you to calculate this where you buy the LED from. Note that the footswitch will still work without a battery - the LED just won't come on.

Dead easy. "Latching" just means it works like an ordinary switch (e.g. a light switch) so that the switch changes from one position to another and stays there until you switch it again. This is different to a "non-latching" switch which switches over then changes back again when you release the switch. You can buy latching footswitches pretty cheapy - there's not much to them. Might be worth checking that first and then adding up the cost of the bits you'd need to make one. To make one you'll need - 1 x Latching foot-operated SPST switch 1 x 1.4 inch jack socket 1 x metal box to put them in 1 x length of cable (mains cable will do the job) 2 x mono jack plugs (assuming the rack tuner uses a jack plug for footswitch input) The idea of the switch is that you are switching the two wires in the cable so that they're either connected together or not. The SPST footswitch usually has 3 contacts. Connect one wire from one contact of the jack socket to the centre contact on the switch. Connect another wire from the other contact of the jack socket to either of the other contacts on the switch. Leave the 3rd switch contact disconnected. That's it really. Edit - here's an example [url="http://www.imusician.co.uk/musicstore/s24180/0/Keyboard-Accessories/BEHRINGER/Behringer-AB200-Dual-A-and-B-Switch/details.aspx"]Behringer AB200[/url] that has two switches in one unit for less than £ 16.

If its being used as a [i][b]limiter[/i][/b] then it shouldn't actually change the sound - it should only stop the volume from going beyond a certain level. Depending on where the threshold is set and how strong your signal is them you might not actually be triggering the limiter, in which case it will be doing nothing at all. Limiters can be quite disappointing at first until you work out what exactly they do and if they can enhance your sound at all. You may even find that you don't need one. The enhancer part will change the sound like a fancy tone control (it's usually there to put back any tone that the limiting effect removes from the sound) There's a sticky about compressors/limters [url="http://basschat.co.uk/index.php?showtopic=337"]here[/url]. Have a look through this and see if it helps any.

Although I've not done it for ages, I can remember the satisfaction of deisgning (simple) PCBs and optimising them. Your right about it being an iterative process. It takes a while to get into the right mindset for doing PCBs so your first attempt might not be the best. If you do it again soon after, you're already thinking the right way it and the design benefits from this. I remember designing a whole mixing desk (for myself !) while on a work placement at a big electronics company. I was going to build it mainly from knock-off components lying around but, sadly, it never got past the design stage. Good fun though - especially the thought of getting it all for free.

[quote name='lushuk' post='145707' date='Feb 23 2008, 07:18 PM']..... I was told the action and setup was spot on....[/quote] I'm not being cheeky or anything but there's no such thing as "perfect action" - it depends entirely upon your playing style. A player with a lighter touch can have a lower action than one with a heavier playing style so an action that's ideal for one player may not suit another player. It's possible your action might be too low for your playing style (trying what GreeneKing has suggested might check this) or that there is not enough relief in the neck for your playing style. Both of these things might cause the strings to slap on frets when played hard.

Matchsticks are made from a relatively soft wood. From what's been said above it seems like you're better with something harder to fill the screw hole - either a dowel or a bit of drumstick. I usually recommend cocktail sticks rather than matchsticks because they're harder. Use a white woodglue rather than superglue. Get the hole all filled up nice and tightly with glue and cocktail stick/dowel/drum stick or whatever. This should do the job.

I can't find details on treble bypass for BASS but here's some info for guitars - [url="http://www.ratcliffe.co.za/articles/volumepot2.shtml"]Treble Bypass[/url] [url="http://www.diyguitarist.com/Guitars/VolumeTrebleMod.htm"]Capacitor Values[/url] [url="http://www.soundonsound.com/sos/apr06/articles/guitartech_0406.htm?print=yes"]SoundOnSound[/url] [url="http://www.bothner.co.za/articles/volumepot2.shtml"]Strat Mods[/url]

You can buy rack shelves that fit standard racks and allow you to mount non-standard sized gear on them. For example [url="http://proaudiostash.co.uk/hardware/rack_shelves/item_1000.html"]Rack shelf[/url] Or [url="http://www.theelectronicsshop.co.uk/Accessories/rack%20draws%20info%20page.htm"]Rack Drawers[/url] Some have hole in the base for screw into gear (e.g. screwing into where the feet are placed). Or you could drill your own holes or use velcro to attach things. Lots of options. For the superfly you might be able to get the rack ears from the supplier.

I remember my first ding on my first ever elecric guitar (a nice white strat copy which was quite unusual at the time). I was polishing my pride and joy with an aerosol can of Johnson Pledge. I gave a tin a shake and caught the edge of the guitar with the bottom of the can Knocked a big lump of the finish out - right down to the wood !! I was gutted. I eventually filled the hole with Humbrol modelling filler (I'd stop making Airifx models by then so it was going spare !) but could never manage to paint it white to match properly. The moral - don't polish too often and if you do, use a polish in a plastic bottle.

When you lower the pickup you get a weaker signal. If the preamp is somehow being overdriven then the weaker signal would reduce this effect. So we're down the the preamp or the pickup, neither of which are easy to test I'm afraid.

Really difficult to debug this problem without hands on. You're settings on the bass seem ok - not at all excessive. What happens if you turn down the input gain and volume on the amp so that the amp is set very low. Can you still hear the noise now ? (trying to rule out the amp being overdriven here). If you can still hear it with the input gain on the amp set low, then I'd be looking at either the E-string itself (still a possibility) or a problem with the preamp. I assume you're plugging directly into the amp with no FX in the signal chain ? And I know you've replaced the battery but are you happy the battery is a good one ? (have to be sure on this one)

[quote name='Jamesemt' post='144457' date='Feb 21 2008, 03:57 PM']Right, I get that. So what's the idea behind a pre/power amp? I understand you can get the sound you want from the pre, then output that with a power amp, but why not just buy a decent head in the first place? I'm presuming the power amp won't really colour the sound much...[/quote] Again it's horses for courses. A good pre/power amp setup will sound not better or worse than a good standard amp head. Many pre-amps also have additional features which some players make use of. The Line6 Bass POD XT Pro, for example, is a rack mount pre-amp with amplifier modelling. Loads of different amp settings and FX units in a single 2U rack unit. It also has outputs to send the modelling sound direct to a PA, and you can use the same unit without a power amp/speakers for silent recording if you wish. That gives you some idea why you might choose that route. But loads of players keep it simple and effective with a standard amp and cabinet setup. It'w what works for you, or what you want to experiment with that matters. No one setup is "better" than the other.

Its tight and it is a feel thing. The whole band has got to feel it too, though and it's important that the guitarist doesn't overplay. When playing along on their own a guitarist will often "fill in" parts of the bass so that it sounds good on its own, but thi doesn't work well when the band joins in. Also, watch for the bass staying on the same note when the chords change - ACDC do that a lot and it really brings a "tension" into the song. It sounds daft, but try playing the song on your hifi reasonably loud and listen to it from the room next door. Sometimes the bass parts really jump out when you do that.