brensabre79

[quote name='fatback' timestamp='1328803672' post='1532923'] i'm curious what alex at barefaced has up his sleeve though. Bet he has an extra selling point somewhere. [/quote] No doubt. I think Alex and Bobby have just got a new CNC machine so they'll probably be a bit busy with that for now...

Sorry Lawrence, I think there's some confusion between an 'acoustic wedge' with a common or garden 'wedge', the idea of the latter being simply to tilt the speaker so it is pointing upwards, thereby helping fatback to hear his bass without spending a small fortune on an over priced bit of plywood and welcome mat combo... [IMG]http://i1264.photobucket.com/albums/jj493/brensabre79/Wooden_wedge_door_stop.jpg[/IMG] There are also speaker stands you can get that hold the speaker about a foot off the ground and tilt it upwards so you can hear yourself, but with what Bill has said about coupling maybe a simple wedge (the common sort - like you use to hold a door open but maybe a bit larger) would help with the predicament in hand. Such as this: [IMG]http://i1264.photobucket.com/albums/jj493/brensabre79/QLBS317.jpg[/IMG] http://www.millennium-music.co.uk/quiklok-amp-stand-bs317 (other stores also stock them)

Looks like you've taken off a chunk off the end of the fingerboard there. For cosmetic purposes you could glue it back in. I doubt its going to have much effect on the function of it. Not sure what you've done to the truss rod though, have you got any before pics?

in dextermath (simplified for ease) you'll be getting twice as much power to the 4x10 as the 1x10 because of the impedance, but the 4x10 signal is split in 4 so you'll be getting half as much power to each speaker in the 4x10 as you will in the 1x10, so the 1x10 is taking a greater load and actually doing twice as much work as the 4x10. Not ideal. It would be better for the life of your speakers with a bi-amp setup you suggest - but if this is just two amps at full range I'm not sure theres much point. Better to have the 4x10 dealing with the LF and the 1x10 adding some HF (as this doesn't require as much power). But as you don't have a preamp with a crossover this will be tricky to do and the results could be unexpected. Can't you EQ some Mid and Top in to the 4x10 on your amp and use it alone? That would be the simplest setup...

+1 Bill. As for the wedge, I have used a broken Boss guitar pedal for years to tip speakers up slightly, I have to say it works better as a wedge than a pedal but it is certainly not the cheapest option. A piece of wood is cheaper (unless you get a block of Purpleheart).

[quote name='waynepunkdude' timestamp='1328729010' post='1531850'] Fixed. [/quote]

[quote name='EdwardHimself' timestamp='1328715886' post='1531583'] The issue with amp modelling I think is not so much you can't get a credible sound out of it, but the fact that it's not really your sound. I prefered the sound I was getting from using a real bass amp to be honest. [/quote] I'm a great believer in getting the sound right at the source, and sometimes the only way to do it is with £5,000 worth of microphones, but if you don't have access to that kind of stuff, there are a wide variety of software that can help you get pretty damn close, if you know what you're doing and what you're trying to achieve. I guess it depends what you use and what you want to get from it... I have an Ampeg plug-in that I DI my bass into, I can choose the Amp & Cabinet and how its miked and with what mic. If I want an Ampeg in a studio sort of sound I have a wide choice of useable rigs right there. Of course if I'm trying to get the sound of a Trace Elliott in a railway station with a ribbon mic this plug in would be of absolutely no use at all. To get back to the OP though, rather than spunking a load of cash on expensive mics, it may be that you can get a lot closer to what you want using some (much cheaper) modelling technology than you can with £150 worth of mic... It may also be the case that a simple SM57 and DI blended will do the trick. If you're on a budget and you don't have a properly acoustically treated room and the correct equipment to capture it then modelling might be the way to go

You should be getting up to about 310W out of an EA Doubler at 8 ohms. I doubt you've got it wound up to full blast though. Maybe you could try eq'ing a bit more LF in there when you lift it off the floor to compensate? The Midget will probably take anything that amp could throw at it I reckon. Or you could try raising it less but pointing it upwards. Removing the contact with the floor even by an inch will be a big help in combatting feedback but will immediately reduce the percieved low frequencies as you're no longer using the floor (and space underneath) as a soundboard. pointing the speaker away from the body of the upright bass will also help with feedback. You can get little amp stands that rest the speaker at an angle (my dad uses one for his big-band gigs, he can hear himself perfectly (as can the audience) and he's only got a 100w Roland!

Cheers, been looking for something for a while. Theres some for old Mac OS around, but nothing modern. I think there might be an iPhone app too but its incredibly expensive.

With all the modelling technology these days you probably don't need all that gear if you know what you're doing I got amp modellers, mic modellers and acoustic space modellers all on my laptop!

Even at £175 its had to be relisted. The bass cabinet world has moved on and left things like this behind!

[quote name='charic' timestamp='1328711437' post='1531488'] My personal favourite recording technique for bass was: DI D112 Close Mic (6" distance and offcentre) Neumann TLM106 or AKG C414 Distance Mic [/quote] Nice. Sounds pretty close to my perfect setup, I'd have an MD421 up close and a 414 / U87 about 4' away

The 70s Antoria one I had looked just like this. Short scale so easy to fly around and super fat sound from the pickups. But you will not get anywhere near a Fender bass sound with one of these.. The genuine Gibbo one I had was white, and not so friendly. Theres an Epiphone version which is longer scale bizzarely called the EB-3 which is what the Gibson SG Bass used to be called.

I reckon that would be too close Charic. The closer you are the less you capture the whole tone of the cab the more you get the tone at one part of the speaker cone. For this reason when close miking speakers many find a sweet spot, near the edge is more bassy, less trebly near the centre is treble all the way (maybe something to do with phase cancellation from the cone shape I don't know) so most people mark a spot on the grill where they always mic up the speaker to get a consistent sound for live applications, in the studio its better to mic from further back to get more air into the sound...

As has been said above I don't think the difference you'll get in volume will be that great anyway. Remember to go twice as loud as 100w you need 1000w. you might want to consider a different amp if you feel you're not getting enough volume, once that is significantly more powerful at 8ohms...?

+1 the MD421 - it is pricy though but you can use it for other things. Electrovoice RE-20 also sounds pretty sweet but again expensive. It depends what you want to achieve though. If you have a good room and you want some more air in the sound you could try using a large diphragm vocal condenser mic positioned a few feet away and blend it with the DI - best combo in my opinion. Also if you're blending with the DI - you don't have to worry about LF response of the mic so much, you could just use an SM57 if you blend with the DI and use the mic'd sound just for the mid and HF... Some may go white with shock at this but I've recorded a kick drum with great sounding results using a Neumann U87 before (it was [u]several[/u] feet away!).

Is there anything like WinISD for MAC?

[quote name='Clarky72' timestamp='1328694430' post='1531131'] There's something special about LesPaul basses, loved mine. Retroman (here on BC) has mine now. It just wasn't right for me either, but it sounded and looked amazing. [/quote] I've always wanted a LP bass, but every time i've gone to the shop, cash in pocket, and tried the selection they have just not felt quite right. I even bought a Thunderbird one of these times and hated it from the first gig! Funny isn't it, almost every time I've bought a Gibson/Epiphone bass it has been passed on within the year. One bass I did gig with for quite some time was an Antoria EB-3 copy, I really miss that bass. I replaced it with the genuine article for £££s, but that was pants and went within 6 months. I'll stick with my Fender/derivatives from now on I think.

Not convinced by the LF response of that eBay mic 27frets. Also remember there are many mics that look the same but are not inside. It is quite possible to get a genuine looking SM58 off eBay for under £50!

Some gear you bond with, some you don't. I definitely do not miss using my Hartke Amp, it was a good amp and it has served me well, but it has no soul. My Sabre bass on the other hand has been an absolute bitch to me on occasions but I would never get rid.... I think you have to live with gear quite a while before you become emotionally attached to it

Yep, open her up and check the wiring, also check the socket - sometimes the pins can get a bit bent and short out/not contact on the stereo jacks. It may be that its earthing through the battery -ve wire or something.

[quote name='Clarky72' timestamp='1328629618' post='1530310'] Hows that Bass Juice pedal? I was thinking of trying one out... [/quote] Creamy although not been using it since I've had the use of the DHA. I tried a bunch of overdrives and fuzzes out (Bass Muff, MXR, White finger?) in the shop and this one seemed to have the best control. You can balance the fuzz and mix it in with the clean sound to get filthy fuzz or just a mild overdriven sort of sound. For the money too its a damn good pedal. It also has a second boost which I've found really helpful when you need to go just one louder for a bit Hopefully your imminent delivery will remove your post sale dissonance and your back will thank you for it!

It says three years on their website... and thats the GB warranty not Bassdirect. See in the bullet points: http://www.bassdirect.co.uk/bass_guitar_specialists/Genz_Benz_Heads_STL6.html Have you ever changed the valve? I read on a US post that the valve housing can be troublesome. My Shuttle had to go back after a month because it made a hissing noise and the volume dropped - when I tapped the top near the valve it cured it temporarily - it went back to Genz.

SOunds like an earth issue. Is it active?

Thats a shame, they made some good gear.