pete.young

[quote name='alyctes' timestamp='1352767637' post='1867326'] Play it on a bass instead [/quote] Or a tuba. Or two. https://www.youtube.com/watch?v=piOAFI8eCdM

The name Bass Collection is still owned by The Bass Centre, now reduced to a mail-order and on-line only trading outlet. The last Speakeasy I looked at was made in China, so there's not much in common between the original Japanese SGC Nanyo instruments and the current offering. Bass Centre site isn't very forthcoming on specifications, unfortunately.

+1 for line level. Regarding banjo, what I do with mine is pickup -> preamp -> Roland AC60 amp (monitor) and then use the Roland as a DI to the desk. If you need to damp the head, usually a sponge or a scarf, towel or similar inbetween the top tensioning rod and the skin will do the trick. The pickup on my 5-string goes right up against the bottom of the bridge under the skin and doesn't need anything extra to stop it feeding back. My tenor has a pickup built into the bridge and that doesn't seem to have a problem with feedback, though I'm not using any monitors off the main desk and that might be a factor,

Of the two links, the Deering will be a better banjo to play, though the Epiphone looks nice. andybanjo.com is a good place to check out and I was also going to suggest Eagle Music in Huddersfield - www.eaglemusicshop.com However, there is a guy on ebay at the moment who seems to be sitting on a huge stock of Tanglewood MB24 and flogging them off at serious discounts - here's one: http://www.ebay.co.uk/itm/GOOD-QUALITY-5-STRING-G-BANJO-REMO-SKIN-ROSEWOOD-BRIDGE-HEARTS-FLOWERS-INLAYS-/360505969671?pt=UK_Musical_Instruments_Sting_Instruments&hash=item53efd48c07 . I bought one of these a couple of months ago and it's a decent bargain.

Excellent, many thanks - we'll give it a go at the next loud practice. Can do soft knee, I have an old Phonic PLC3200. Before I got into live sound, I though creative pumping was being able to fart the first 4 bars of the National anthem :-)

mickthebass, I'm sorry that someone tried to rip you off, and I'd like to think that most people who post on this forum would unreservedly condemn that aspect of cloning and faking. It's good that you got your money back but I can see how such an experience would colour your view. The RIckenbacker clones thing is slightly different, in particular those clones which were made 35-40 years ago, and whose existence represents no threat to the financial well-being of the Rickenbacker company or CEO. Although I understand that he needs to be seen to be protecting his trademarks, the way he's going about it and his enthusiasm for the task hasn't particularly endeared him to some punters here, or strengthened his moral argument. I'll reserve my condemnation for people trying to pass off things as something they're not. What can we do to make sure of what we're buying? I don't know the answer: it's hard to trust anyone, even some dealers, so all one can do is to try and develop an eye for detail, learn what makes a genuine article, and perhaps get a knowledgeable second opinion, maybe from someone on this forum. There are many knowledgeable and helpful people here. It shouldn't be necessary, but it is. As far as Shine are concerned, they're from a culture where there is no copyright, so I can understand why they don't believe they're doing anything wrong.

The compression article is everything I hoped it would be, a brilliant distillation of all the wisdom from your bassbash sessions and many postings. Could I be cheeky and ask if there's a similar set of handy hits for setting up compression for live vocals, because I'm growing increasingly dissatisfied with the single-knob compressor on my mixer but don't really have the confidence to know where to start with a proper rack compressor.

[quote name='Marvin' timestamp='1352315139' post='1861575'] I couldn't hear the bass player. [/quote] Me neither. That's a relief, I know I'm going deaf but didn't realise it had got that bad.

[quote name='mickthebass' timestamp='1352315749' post='1861588'] [font=comic sans ms,cursive][size=5]I thought this forum was against cloners and fakers. [/size][/font] [/quote] I think you need to go and do a bit more research. And use a smaller font, there's a good chap.

This looks like the usual bug with .pdf format files - the brain-dead forum software re-names the files and then nothing will open them. The work-around is to either set your browser up to treat .ipb as pdf, or save the files and re-name them. Both workarounds are unacceptable IMHO, it's long beyond due that whoever is responsible for this board software got their finger out and fixed the error.

[quote name='wateroftyne' timestamp='1352060880' post='1858351'] As for the style of music... it's acoustic-based but still kicks a fair bit. Here's a song from an earlier night (not using the Vintage) [/quote] That's really really good. I was a big fan of Lindisfarne when Meet Me On The Corner came out and for several years afterwards. The young man on guitar and vocals is doing a great job. Hope that you'll be coming darn sarf one day.

[quote name='Ghost_Bass' timestamp='1352119616' post='1858882'] I haven't even thought about that, i assumed that it was a 2x 8ohm 112 vs 1x 4ohm 212. Yes, impedance will have a lot of importance on the comparison. [/quote] I don't believe it will make much difference at all. It's a logarithmic scale. The most significant factor is the sensitivity of the drivers and the swept volume. On the other hand, if you have an 8 Ohm 2x12 you can add another one if you need to be really loud: many amps won't go down to 2 ohms so if you have a 4Ohm 2x12 you're stuck with one cab. Having said that, I have a single 4Ohm 2x12 and it's hard to think of situations where it isn't loud enough. For some reason it's quite tricky to find 8Ohm 2x12 cabs - many 12 drivers only seem to be available in 8Ohm form. Gallien Kruger is one exception, there are probably others. EBS cabs are all 4 Ohm.

[quote name='Lozz196' timestamp='1351722187' post='1854764'] Update on the bass now. I`ve just had the Nordstrand NP4 Pickup, Baddass II Bridge, and CTS 500k pots removed [/quote] No accounting for taste, is there? I replaced the pickup in my ash PB70US with a NP4 and it sounds great to me. Mine has TI flats on it, which work very nicely too.

Thanks for the feedback Ady - we don't get many gigs in that part of the world, but I'd be turning this one down!

It's steel. So is the 'B'.

I couldn't get past the left hand glove with the missing finger. What is all that about? The exercise is a bit contrived - I can play that just as fast using alternate index/middle all the way through without any rakes. The one in 'Sensitive' makes a bit more sense.

I think he probably means 'Alder', an equally unlikely claim!

[quote name='Bilbo' timestamp='1350672752' post='1842230'] I know this is not a universally agreed approach but I recommend you read lots of stuff once, play it and, even if you get it wrong, discard the piece and read another one and another and another. Don't give yourself the chance to 'learn' what you are reading, just read it. [/quote] This is exactly the way that I was taught to sight-read, in the classical piano world. The other insight I found usefule was that it's not about the notes, it's about understanding the intervals between notes on the stave and how they relate to intervals on whatever instrument you're playing. It should require much less mental effort to look at two notes a line and a space apart and see that as a 4th, than to translate both positions onto the stave into notes and then work out the relative positions on the fretboard.

[quote name='alexclaber' timestamp='1350996617' post='1845973'] I've never seen much sense in buying a lightweight rig and then carting an amp stand around with you. [/quote] The solution that Tecamp provide for the small Puma combos is light and effective: a 1/4" diameter hollow rod which slots into a socket on the back of the combo and allows it to be tilted backwards, and is stowed in a couple of clips when not required. Can't find a picture. FWIW, even if the maths say that a Gramma pad can't work, it does have a noticeable effect on boomy stages. I have no explanation.

[quote name='davehux' timestamp='1350657395' post='1841899'] Our desk does have 2 aux outputs, [/quote] You need 2 pre-fader aux outputs, one for each mix. A post-fader aux output is not much use for a monitor mix because it changes when you adjust the FOH faders. Many small desks, such as the little Behringers, have one of each so you can only run one monitor mix. If I were you I would resist giving them the ability to turn it up themselves, because when it gets too loud in a small venue it can start to interfere with the level of the FOH mix.

I've seen both things: problems caused by an unshielded single-coil Strat which disappeared when he plugged in his humbucker-equipped les paul. We've also had an indiction loop causing problems with both bass and guitar backline which were solved by turning off the loop. If there is a loop, it MUST be turned off because of the potential damage it could inflict on the ears of an unwary passer by with a hearing aid.

Sorry to say that I had a popping noise from my Puma combo and it turned out to be a blown woofer :-( Hopefully yours will just be an eq problem.