BOD2

[quote name='tauzero' post='138870' date='Feb 12 2008, 02:17 PM']They're already doing it [url="http://www.fuel-optimiser.co.uk/how.html"]for petrol[/url] and obviously have managed to make a profit on it...[/quote] Yeah - I've seen variations of that device over the years. Call me cynical, but if it can achieve economy savings of "up to 20 %" for 75 dollars, then wouldn't one of tha major car manufacturers have snapped it up by now to help sell their vehicles in this current "green" climate ?

[quote name='alexclaber' post='138840' date='Feb 12 2008, 01:39 PM']It's the swept area that matters, so it's still a circle. Though you do need to bear in mind that the 10", 12" or 15" diameter is nominal and the real diameter once frame and surround have been subtracted is significantly less. Alex[/quote] Thanks for that correction. It seems it's the cone movement that's the critical dimension in any case.

Adjusting the truss rod is used to set the correct amount of "relief" in the neck. The relief is a small amount of "bowing" along the length of the neck that allows fretted notes to vibrate freely without striking adjacent frets. It will have a small effect on the action, but only if the truss rod is currently very badly adjusted. Truss rod adjustment is not normally seen as an adjustment for the action. More info [url="http://www.garywillis.com/pages/bass/bassmanual/trussrod.html"]garwillis.com[/url] [url="http://www.tunemybass.com/bass_setup/adjusting_neck_relief.html"]tunemybass.com[/url] Shimming the neck changes the angle between the neck and the body. If you tilt the headstock back then this allows the action to be raised more. If you tilt the headstock forward then this allows the action to be lowered more. It sounds like the neck here needs to be tilted forwards - this would lower the action and allow you to raise the bridge saddles up a bit to get you into the correct adjustment range. BigRedX - if the action is already too high, wouldn't the shim need to be placed at the neck end of the neck pocket in order to lower it ? (or if there is already a shim in place - just remove the shim) ? I can't get my head round this today Some Fender basses have "micro-tilt" necks which allow for neck adjustment without shimming. Check the 4-bolt plate at the back of the neck. If there is a small hole in the plate then this if for neck adjustment. Loosen the strings off, then loosen each of the 4 neck screws slightly (you don't have to take them out). Now put a correct sized allen key in the hole. Turn clockwise to move the headstock back, or anticlockwise to allow it to move forwards. Tighten the 4 screws to complete the adjustment. [url="http://www.fender.co.uk/support/basses.php"]Fender[/url]

Two possibilities that I can think of - 1. Speakers are not flat circles they're cones so its a volume calculation not an area calculation you'd need 2. The amount a speaker moves backwards and forwards will affect how much air is moved. More movement = more air moved. You also get "coupling effects" whereby speakers positioned close together act on the air as a single large speaker. This is one of the principles of vertical arrays of speakers that are currently coming into fashion for large PAs. It seems that air movement is not as simple as you would think.

I reckon it's only a matter of time before some company sticks magnets around the outside of the lead at each end and claims that the magnets "align the electrons in the signal path, reducing loss of energy through random scatter thus increasing the top end, reducing muddiness in the middle range and allowing the bass frequencies more headroom" Sounds convincing to me. Hmmmm.....now there's a thought ? obbm - are you listening ? We could do a deal here

[quote name='Happy Jack' post='138100' date='Feb 11 2008, 12:25 PM']As a complete electronics moron (no false modesty intended - I mean what I say), I thought the attraction of gold-plated connectors was that they never tarnish, so you always get a perfect connection?[/quote] "Tarnishing" is caused by oxidisation of the metal as it reacts to the oxygen in the air. Metal contacts will discolour a little and gradually start to lose their conductivity. Gold does not react to oxygen in the air, therefore it does not tarnish, therefore it does not lose conductivity and is an excellent choice for contacts. So far so good. BUT...the contacts are not solid gold (too expensive). They are gold plated. Gold is a relatively soft metal (certainly softer than steel) so if you plug a gold plug in and out of a steel socket a few times, the gold will start to wear off. And guess what's underneath ? Yep - the same metal that tarnishes ! Gold contacts work better where both socket and plug are gold plated - each is as hard/soft as the other so there is less wear. Or where there is not frequently plugging/unplugging of the connector (e.g. semi-permanent installations like hi-fi or tv setups). Incidentally, the frequent plugging/unplugging of a normal metal jack plug you will actually clean the metal through abrasion which prevents the tarnishing in the first place. EDIT - it's probably not steel that is used for connectors, but whatever it is will always be harder than gold.

This is a version of the "hi fi" debate isn't it ? The bass guitar debate is usually spoiled by people bringing in confusing statistics from the world of expensive hi-fi music systems that are not relevant in [i][b]this[/i][/b] debate. As bilbo230763 points out, as small difference in signal strength may be measurable electronically but whether or not that difference can be heard in a real gigging environment (or even a practical studio environment) is what matters. And if the only effect of the signal improvement obtained by adding a very expensive cable is a slight increase in the top end....then why don't you just tweak the treble control on your amp to make the same adjustment for free ? Yes - we need good quality, robust, reliable cables (not cheap rubbish) but where do you draw the line ? With all of these setups you need to examine every part if the signal chain - no point in having a super expensive cable between your bass and pedal board if the connections between the pedals themselves aren't up to the same standard. And what about the cabling INSIDE these devices (or even your bass). Are these up to the same standards ? Gold contacts anyone ? These only work if both the plug and socket are gold plated, otherwise the softer gold plating is just worn off the expensive plug by the harder steel contacts on the cheap socket every time you plug in.

There are quite a few free converters around. Trying Googling "wma mp3 convert free". This is one I came across [url="http://www.koyotesoft.com/indexEn.html"]koyotesoft.com[/url] but I've never used it so I can't comment on it. Maybe someone else has experience of using something it particular. I have used [url="http://cdexos.sourceforge.net/?q=download"]CD-Ex[/url] which is a good program to extract files from audio CDs onto your hard drive - either as WAV files (original format) or converted to MP3.

You can't run two amp channels into one cab [i][b]unless[/i][/b] there are two or more speakers in the cab that have been wired up independently of each other (so you're effictively connecting to separate speakers that happen to be in the same enclosure). Don't be misled into thinking there's a direct relationship between amp power and loudness - it's really not as simple as that. An efficient speaker with a high Sound Pressure Level (SPL) will be louder than one with a lower SPL even if you put more power into the less efficient one. As a general guide, you need approximately 10 times (yes TEN) the amplifier power to get twice the volume. So, for example, changing from a 250 W amp to a 350 W amp is not going to make a huge difference.

A "no load" pot has got a gap in the carbon track at one end that effeictively takes the resistance of the pot out of the circuit when you reach that point. I can't think straight enough right now to figure out what would happen if it was wired up the wrong way ! It's a non-standard part, though, and a little unusual. More likely to be dirt inside the pot, provided you've checked that all the connections to the pot are sound.

I don't suppose it's a "no load" pot with a break at the end of the carbon resistance track is it ? Failing that I'd give it a squirt of contact cleaner to make sure there's no dirt causing problems.

If it's labelled as a "link" then it should be a line level signal for linking to the input of another monitor. You do get external speaker outputs on some monitors but they should be labelled specifically "speaker" or something similar AND they will always have an impedance rating (e.g. 8 ohms) written beside them. If there is no mention of an impedance then it's most likely to be a line level link not a speaker output. (You're right that a speaker output would provide too hot a signal for inputting into another monitor). If you really can't determine which it is then you could try trial and error carefully as follows - 1. Feed one monitor with a very low music signal from the mixer (keep the mixer level very low) 2. Keep the volume of the monitor down so you can just hear it. 3. Use a screened lead (not a speaker lead) to link that monitor to the input of another monitor 4. Keep the volume of the second monitor very low If it's a true link then the volume from both monitors should be very similar. Bring up the volumes slowly and compare what you are getting at each monitor. Provided you keep the signal levels (especially the output from the mixer) very low there's no risk of damage to anything.

Can't you link the monitors together "daisy-chain" fashion ? Most active monitors have a "link" connector as well as an input that allows the input signal to be sent to another monitor. What kind of monitors do you have ?

In that case I would refer you here [url="http://www.soundonsound.com/articles/Reviews.php"]SoundOnSound.com[/url] for the best indepenedent reviews of recording gear available.

[quote name='David Nimrod' post='136413' date='Feb 8 2008, 11:58 AM']Just to reiterate:- [i][b]I'm looking for a home studio set up here, not live sound...[/b][/i][/quote] DOH !

Active monitors are quicker and simpler to setup but heavier to lug around. Mackie make superb stuff. We used SRM450s as part of our main PA. But they're not cheap unless you can get some good secondhand ones. Wharfedale also make good stuff if you need to keep an eye on the budget [url="http://www.swlighting.co.uk/products/wharfedale-monitor-speakers-198/1992.htm"]Wharfedale SVP-12PM[/url]. I bought one of these for myself and it does the job well and is also reasonably compact. Soundcraft and Yamaha make good mixers in lots of different sizes. Behringer and Phonic are cheap and cheerful and do a great job for the price but can be less reliable if you're unlucky - but then they're so cheap you can just chuck em away if they go faulty. Remember you'll need cables to connect everything together so allow for that in your budget.

I have a Behringer V-Amp Pro (rackmount one) and Bass POD XT Pro (also rackmount). I would say that the Bass POD is better for bass than the V-Amp. The POD's sounds are richer, more variable, less "digital" at times and the controls are much easier to use. The V-Amp can sound artificial at some settings and can be noisy at some settings. Also the V-Amp needs two hands free to manipulate some of the controls. Having said that, the V-Amp is excellent value for money, has some very good sounds and also has some settings suitable for use with guitars and keyboards (useful if you play either of these too) whereas the POD is more strictly geared up for bass. Both offer computer interfaces to the controls if you connect up to your pc. This makes programming them easier (much easier in the case of the V-Amp) as you can see ALL of the settings simultaneously. The manual for the V-Amp is a bit bewildering at times whereas the POD one is better. To sum up - if you want a pro sounding rig based on a modeller I would got for the POD. The better sounds and ease of use are essential in a pro-rig. If you just want a modeller to play with and perhaps do some basic recording with then the V-Amp is an excellent choice, especially if you can get a second hand one cheap !

[quote name='GreeneKing' post='129545' date='Jan 28 2008, 08:21 PM']Ref Audio vs Linear I thought that it was Audio for volume and Linear for tone (or was it t'other way around?). No I'm fairly sure I'm right.[/quote] Strictly speaking you are correct - Audio (log) for volume and Linear for tone. You must have Audio for volume as this matches how the human ear percieves sound. A Linear volume pot would be all on or all off with no gradual variation in between. The tone circuit, however, is an electronic circuit and not directly an audio circuit (although it does have an affect on the sound). A linear tone pot would give a linear variation of tone whereas an audio tone pot might have all the variation at one end of the pot travel. Where the confusion arises is that, to keep their parts inventory simpler, most manufacturers copy Fender and use audio taper pots for both. Given that the tone circuit is usually less used and less important than the volume circuit, no one seems to mind.

Do you have the manual ? If not you can download it [url="http://lib.roland.co.jp/manual/en/dl_04-00393/GT-6B_e3.pdf"]here[/url] According to the manual, the XLR outputs provide a line level signal suitable for input to a mixer, which should therefore be okay to drive a power amp. There's a little switch next to the XLR outs. You can set that so that the Left XLR outputs a mono signal. There's also an output level control at the rear. I would set that to the 12 o'clock position and see how that works, then increase it a bit if necessary (avoid running it at maximum if possible).

[quote name='tauzero' post='125440' date='Jan 22 2008, 01:55 PM']If you ran a 4 ohm and 8 ohm in parallel, the impedance would be 2.7 ohms, so I imagine you could do that with the amp switched to 2 ohm (not having dealt with switchable amps, I'm not sure how exactly you have to match the impedance, so check the manual).[/quote] It's generally not a good idea to use two cabs of different impedances (e.g. 4 ohm and 8 ohm). The power drawn by each cab is determined by the impedance of the cab, therefore using different impedances will result in different amounts of power going to each cab, which is probably not desirable. If you want to split the available amplifier power equally between two cabs then use cabs of the same impedance. Two obtain a 2 ohm load from two cabs you would need two 4 ohm cabs in parallel. Also check that the amplifier really is happy running into a two ohm load in "real-life" (this is still a little unusual, although quite feasible in high end emps) and that the 2 ohm load isn't just a false spec quoted by the manufacturer to make the amp sound more powerful than it is !

If you can get access to the pots, then it's worth spraying some contact cleaner into them. It's cheap and usually fairly easy to do. Attach a "straw" to the contact cleaner so that you can spray it accurately. Switch everything off, open it up and spray the cleaner sparingly into the open part of the pot. Leave it for a few seconds than turn the pot from min to max several times to spread it around. If this makes no difference then it may be a worn/wearing component (usually a capacitor) that's creating noise.

This doesn't really answer your question, but the whole tuning thing is a massive compromise and the adjustable bridge pieces allow for some adjustment to help. [url="http://www.buzzfeiten.com/howitworks/howitworks.htm"]Buzz Feiten Tuning[/url] [url="http://www.harmony-central.com/Guitar/intonation-faq.txt"]Intonation Faqs[/url]

Could the pickups actually be wired out of phase with each other ? There should be two wires from each pickup - a "hot" and a "ground". In a passive bass both "ground" wires would be connected together to the ground of the bass (usually one of the pot shells) and the "hot" of each pickup goes to the volume or balance control. If you connect one of the pickups round th worng way (i.e. "hot" to the ground connection and vice versa) then each pickup will sound ok on its own but will sound "out of phase" with each other when played together. Can you trace the ground/hot from the pickups to make sure they're ok ? As long as both pickups have the SAME hot/ground wiring it should be ok. Failing that....say hello to Bernie for me

+1 Muppet The ground wire is never soldered to the bridge. Make sure you have half an inch of bare wire and spread this out on the body where the bridge will sit. If you want you can roughen the underside of the bridge base a little with sandpaper to ensure a good contact. Then just screw the bridge down and the wire will be trapped and make contact ok. It sounds a bit DIY but it's how all the manufacturers have been doing it for years !

I think the problem lies in how the controls operate. The amount of compression is either preset or varies in conjunction with other parameters on the CS-3 so you have no way of modifying this. To get long, sustained notes you really want to increase the "Sustain" control - turn it clockwise. Try it at the 3-o-clock position (if it's set at 7 then is this fully anti-clockwise, which is minimum sustain). Now adjust the "Level" to get the required level. Once that is ok, try playing with the "Attack" control to see if/how that changes the sound. Finally adjust "Tone", if required. Instruiction manual available here [url="http://lib.roland.co.jp/manual/en/dl_06-10484/CS-3_e.pdf"]Roland[/url]