brensabre79

Some amps say "Minimum X Ohms" on the speaker outputs, so as long the cab is higher than X you are fine. Others just say "X ohms" which is a nominal rating - i.e. in that ball park will be OK, impedance change with frequency anyway. I [i]think [/i]SS amps work the opposite way to valve amps though in whether they prefer cabs to be above or below the nominal rating - but don't quote me on that!

Tom i feel your pain there. I'd love an SR500M in White, but they don't make 'em anymore. You could try getting one from a slightly more 'hands-on' shop so they can check and repair if required before sending out to you... Some of these online places are just box shifters - which keeps the price down, but basically its a replacement/refund or back to factory for repair when something goes wrong.

Sad news. Hope you were insured. As above, keep an eye out in the local cash converters etc. Sorry to say but anything with a distinctive serial number is generally discarded/disguised by canny thieves. I lost a custom made bass #00001 from a tour van theft years ago - the rest of the stuff turned up in a Cash Converters down the road but the police said that the distinctive serial number would probably mean they chucked it in the canal.

I'd just look for a short scale Jag bass to be honest. And sell the long scale one. You can't just swap to a short scale neck because the bridge will be in the wrong place. So the hassle of converting the body would probably make it not worth it, not to mention it'll make a bit of a mess where the bridge currently is...

From what I can see it's a Stock Squier VM with a decal and a new scratchplate. to be fair though, he's starting bidding at £150 - which may be a little optimistic but he might get a couple of bids and it wouldn't be a complete rip-off.

Just get a Gotoh 201. Great bridge, really simple to fit. If you want to be a bit more bling, then a Badass II will do nicely. If you're not into DIY though, get one with saddle grooves already in. EDIT: I should add I've fitted both to a Squier VM with no probs.

Yeah I feel ya, for all the advances in technology over the last 50 years, there is still nothing that sounds and feels like an SVT with an 8x10. Nothing.

[quote name='BigRedX' timestamp='1416845896' post='2614198'] IMO if you are relying on acoustic coupling between your rig and the room to give you the right sound, then something is wrong with your rig. [/quote] +1 to that. Sounds like the room had some kind of natural bass trapping properties. If you have enough headroom from your amp/cab/combo it shouldn't be an issue, but where you can clearly become unstuck is reaching the limits of your rig when adding LF. More power handling doesn't mean you [i]have to[/i] go louder, it just means you can get the sound you want wherever you want... Having said that I don't use a gramma pad, I have a Carlsberg Crate and it's probably the best acoustic de-coupler in the world

Ah, your back is better then?

Perhaps for guitar a touch higher means you can really jangle those open chords? But for bass, I have always set up mine in the same way, Nut height the same as the frets for those without a zero. Ergo zero fret the same as the other frets would seem to be the most logical. Higher and the 1st fret will be harder to play, lower and it'll rattle. BUT I'm not a luthier, just someone who sets up my own basses the way i like'em.

I think it'll work as a standalone 2x10 (If the speakers can take the watts and frequencies in that cab) - but the 4ohm 2x10 together with the 8 ohm 1x15 will take your total impedance down too far in parallel (if the amp does 4 ohms min.) So if you wanted to combine it you'd have to wire the speakers in series. The end result may be quieter than using just the 2x10 though because you'll be up to 12 ohms. You could go all fancy and have a switch on the back of your cab to go between series / parallel wiring internally so you can choose 4 or 16 ohms to suit your needs. However all of the above still applies - the MB 2x10 combo and 1x15 extension set-up may well have been designed to be used like that. I can't say. Your 2x10 is going to be a bit unpredictable because the drivers (speakers) may not be well matched to the cabinet to start with, and the end result may well be a poor (or amazingly good) match to your 1x15 or 4x10 or both. Hence I suggest you should aim to use it alone or not at all, so you have a compact setup for not too loud gigs, and a big stack like you've always had.

[quote name='Dad3353' timestamp='1416941398' post='2615338'] Yes indeed; the Scarlett has TRS balanced jack o/p, and the monitors a TRS jack i/p..! Couldn't be better, I'd say. Ignore the Phono plugs; use TRS jacks with balanced cables, and enjoy..! [/quote] Nice, that's the way I'd go then. [i]Also, with a balanced line, if you do still get some hum/interference, you can disconnect the screen at ONE end of the cable to eliminate the earth loop whilst keeping the cable run screened and getting all of the signal through. (We used to do this to outboard gear when I installed studios many years ago.)[/i]

Now here's a can of worms.... [b]Short answer:[/b] Personally I wouldn't use them together - so make your 2x10 4 ohms, and use it alone or not at all. [b]Long answer:[/b] OK first off, examples below are heavily simplified (before everyone chimes in) to get the point across briefly: If you have an 8 ohm 4x10 and a 16 ohm 2x10, and you use them together, in theory each cone will be sharing an equal amount of power. i.e. the 2x10 will get half the power the 4x10 does from the amp - as it's got half the speakers that's OK. If the 2x10 is 4 ohm it will get twice as much power into it as the 8 ohm 4x10 from the amp. So the power-per-cone will be far from equal - the cones in the 2x10 will be working 4 times as hard as the ones in the 4x10! - Not a good option. But you also have an 8 ohm 1x15. So if you use that with the 2x10 at 16 ohm, the 15" will do twice as much work as the 2x10, or 4 times as much as each cone in the 2x10. Again not ideal, but personally I don't believe in mixing speaker sizes anyway. So going 16 ohm with the 2x10 and only using it with the 4x10. The 4x10 + 1x15 setup you already have suffers the same problem - the 15" is handling 4 times the power of each of the 4 10" drivers. So at 4 ohms, (max power), the 15 gets 50% (400W), each of the 10"s get 12.5% (100W) x4 = 50% (400W). HOWEVER>>> Mixing different cabs that were not designed to go together is a risky business. e.g. if one cab has a pronounced mid hump at 800Hz and you roll off 800Hz on the amp, it will also take 800Hz out of the other cab that does not have the hump. So then most of the 800Hz region you can hear will be coming from one cab. That's a really simple example, its a bit more complex than that. Basically it can be quite unpredictable. Same with mixing a 15" with either the 4x10 or the 2x10. So my advice is... make your 2x10 4 ohms, and use it alone or not at all.

All good then. If the phono leads pick up interference you want to might try balanced cables (if the speakers / interface will allow).

+1 for JJ - I've tried lots and they are easily the best for power stage - well for me anyway. I also like their ECC803s too. It's a special long plate version of ECC83 but doesn't seem to suffer the microphonics like many LP ones do.

[quote name='Sibob' timestamp='1416561787' post='2611399'] The Antique White 44-01 looks great too! [/quote] +1 - I'd have to have the blocks neck on it though

There's a VM Jazz on [url="http://www.gumtree.com/p/guitar-instrument/fender-squier-jazz-bass-black.-mint-condition/1089775144?fb_ref=Default&fb_source=message"]Gumtree[/url] for £95 right now, not sure where you're based but the neck alone is worth that and you can sell the body and hardware... Grab it QUICK before it's gone

I think it depends which pots you get. If you use the CTS ones they should be the same quality (this is what Fender use). But yes they are generally only available in split shaft type. Good tip on lining up the grub screw with the split btw - i found this one out the hard way!

I've tried both. Forget the Phase switch you'll just lose all the bass frequencies and be left with a honky mid heavy sound that is useful for absolutely nothing but sounding like a really awful guitar. The series/parallel switch (or a 'Henry' switch as I call it) can be a useful mod. I have one on my Jazz - it makes it sound a bit like a Precision... boomy and less clarity with a slight volume boost. As you already have a P pickup it may well be overkill! Another mod I have is a Ricky style passive HPF on the bridge pickup. When activated this only lets the mid/treble from the bridge pickup through, so you always get the low frequency from the neck pickup (nice and fat), but you can add some mid/top to it from the BPU without any phase cancellation - so you don't get so much of the scooped sound of to pickups in parallel. Sounds a bit like a Rick. Vol (push/pull Series/Parallel) • Stepped Blend switch (5 position rotary) • Tone (push/pull HPF) Still with 3 knobs so completely reversible (as it's a 70s one). The result is a Jazz bass, that can also sound passably like a Precision or Rick. Now if only it had a through neck... Anyway, if any of the above appeals let me know and I'll try and dig out the diagrams

Depends HOW loud the band is, and how efficient the speakers plugged into the amp are, where the mics are positioned will have a bearing too. 200W should be plenty for a practice room in my view. There's no point getting a 2,000W amp if all the mics feedback and you have to turn it down.

I do agree that the 'in the mix' sound is often amazingly good compared to what it sounds like soloed. But I warn ye... Some of these isolated tracks are taken from the Multi-track tape as is. These are the raw recorded tracks without EQ, compression etc. that is added in the mixdown, so possibly not a reliable indication of how the bass sounds in the mix at all. Add to that the Mastering process where things change again. Back in the days when Pro-tools first came along I worked in a studio where we transferred many a 2" multitrack to digital. From the Sex Pistols to Phil Collins and lots in between. We didn't run the tracks through any outboard, and kept the signal path as clean as possible. So what you got in the digital domain was only what went to tape. Usually slightly in the red for a bit of tape compression, and as far as the bass goes, lacking in significant bottom end because they ran the tape at 30ips and generally stuff went to tape as trebly as possible to minimise tape hiss (if you turn up treble once its on tape you turn up the hiss too so it was common practice to have as much going to tape as you'd ever need). Still, fun to listen to eh?

Here's the thing, all Precision necks are wide top to bottom, some are thin front to back, some are fat - depending on the profile. Same with Jazz necks, although they are all thinner top to bottom than the P, as discussed, some are fat front to back, some are thin. the Jaguar necks are supposed to be the same width as a Jazz, but a little skinnier front to back. If you just want to swap the neck I'd recommend the Squier VM Jazz neck definitely. I've got one (Mk 1) on my P-Bass for the same reason as you, and they are pretty slick. Not sure about the mighty mite ones, if it's anything like an AllParts Jazz neck it'll be pretty fat front to back compared to the Ibby's. But if you do that, you'll be left with a P neck, and a bass that has been severely modified which may make it more difficult to sell on... although you can change it back easily - you'll still have bought a neck. As mentioned above, you can pick up a Squier Jaguar with P & J pickup combo for not too much money - especially if you trade in the P as is. There you'll have the best of both in terms of skinny neck, P sound with the added bonus of a bridge pickup

I'm pretty lucky for the most part. I do the PA, R.Git does the bookings, L.Git does set-list & song arrangements. and the Keyboard player is also the singer. She turns up last, leaves first, asks where to plug in etc. and not only plays the left hand right down at the lowest octave (MY notes!!!), she also usually plays the wrong notes with predictable sonic consequences. So every gig I go up to her amp and switch on the HPF and roll off all the bass... and all is well. Edit: forgot about the drummer. He hits things.

I think it's this one: http://www.back2skool.info/ in which case discreet, yes it does.

[quote name='TimR' timestamp='1416236261' post='2608153'] But it's also about 'why' pubs pay so low. [/quote] I don't think that's what the OP was about, but since you ask... It's because there is next to no money around. The smoking ban pretty much closed a lot of pub culture and turned the others into foodie pubs - something that has taken off in a big way since. But many of these so called Gastropubs aren't the sort of places that will have bands on. The sort of pubs that still ave bands fall into two camps, the privately owned ones and those that are 'managed' on behalf of the brewery (the owners). Many breweries give those managers an entertainment budget with which to pay for bands etc. and it isn't all that much. A pub near us have had numerous requests from their regulars to book our covers band, having seen us at other establishments nearby. Unfortunately the entertainment budget allocated by the brewery means that at our minimum fee we'd see off a months worth of entertainment budget in one night. Those of you paying attention will be able to do the maths, but that basically means the landlord can have a band a week if he pays them no more than £75 each. He can't sub that out of the takings because it's not his money. The privately owned ones have more flexibility, but to have a £300 band on, they have to take more than that in EXTRA profit on the night (compared to just switching on the jukebox) to justify it. And the profit on a pint of beer just isn't that much. Some places take a loss on the night because they love the music - but those are the ones who are gonna be picky about who they book and they'll probably keep it to once a month so they can also eat. There's a place near us that have a huge reputation in the area for live music, 4-5 nights a week. They cannot possibly pay more than £150, but they do pass a jug around for the band - which on a good night can take it up to £200 or more. It's not worth it for us, and we don't really do many pubs these days full stop, but many do play there quite happily.