jrixn1

Two SpectraDrive pedals, a Boss LS-2, and any clean power amp?

Short version My question is: can a retailer charge a blanket fixed-percentage restocking fee for items being returned as unwanted? Longer version! The situation I read about in a recent sales thread ( https://www.basschat.co.uk/topic/348016-withdrawn/ ) was that a bass was bought online, then returned after seven days due to change of mind. The retailer however are charging a 10% restocking fee. I'm not a consumer rights expert by any means, but my layperson understanding is that when returning an item bought online/on the phone, generally no 'restocking fee' can be charged. Quoting from 'Consumer Contracts Regulations' (my emphasis added) http://www.legislation.gov.uk/uksi/2013/3134/regulation/34/made FWIW I recently returned an item to PMT and there was no restocking fee; and to Thomann, where not only was there no restocking fee but they even covered the return postage back to Germany (this is their own generous policy, over and above statutory requirements) So in this instance, the retailer in question cannot charge a blanket 10% on all returns. I think they only thing they could do is examine the bass after it's been received back and point out there is now a scratch etc where there wasn't one before, and recover that amount. Is my interpretation correct, and has anyone pushed back on a blanket restocking fee from any retailer and what was the outcome?

I thought maybe so - but this is the EUB and Double Bass forum...

Roundwounds... What instrument was this on?

This link seems to work: https://www.youtube.com/watch?v=VxMfgK_6tG4 Bass sounds good but the guitarist is standing in the way most of the time blocking my view of that nice bass.

I don't think there is a standard approach. For example, a Genz Benz works in exactly the way you have described; but a Markbass effects loop is in parallel, with a fixed 50/50 blend.

Geoff bought an item from me. We met in person to transact, and he was prompt (early, in fact), had a small chat, no problems at all. Nice to meet you Geoff and all the best.

There is this thread currently in General Discussion

Send/return might be in parallel to allow you to blend your external effects with the dry signal.

Mic-level input is correct. Apologies if this is covering ground you already know but is the PA mixer gain set ok? There's more than one way to do it, but perhaps the easiest way to get to a good starting point is: Put pedal into bypass for now (this reduces the number of variables while you're just trying to get a correct signal to the mixer) Connect pedal to a mic-level input on the mixer (almost certainly an XLR input) Set that channel's gain to its minimum (normally a knob right next to the XLR input socket - turn it all the way anti-clockwise) Set channel volume (normally a large slider) to "0db", which isn't at the bottom of the slider, but near the top of the range. It will be marked. While playing the bass, increase the gain knob (from step 3) until the bass comes out at the correct volume. If that sounds ok (ie the basic sound of your bass) but when you engage the pedal it sounds wrong (or considerably louder), then it means the PA is probably set correctly but maybe the pedal knob settings now need adjusting.

Parallel is correct. It's perhaps unintuitive, but both the following wirings are equivalent (both are parallel). I.e. this: cable #1 from head to Orange 212 cable #2 from head to 151P Traveller is the same wiring as: cable #1 from head to Orange 212 cable #2 from Orange 212 to 151P Traveller The first has a slight redundancy advantage in that if one speaker/cable/output developed a fault, the other would continue to work. It's rare to want to wire speakers in series; if you really wanted to do that, you'd need some extra hardware between the amp and cabs.

What do you mean by a "jazz bass" - the body shape? How about a TRBX204?

In reply to the poll, I'd say the guitarist in our band would be fine reading that chart on the fly. But then again I'm equally sure the band leader would only book a reading dep. So if it's your band you're arranging for, in theory it should never be an issue. One thing perhaps worth mentioning, which our arranger has tripped up on very occasionally, is writing clusters which are easy on keys, but impossible for the guitarist to finger, however good his reading is!

If it's in F, the key signature shouldn't have three flats... ?

Assume you asked this because your amp is 4-ohm minimum. The thing about a 12ohm Two10 and an 8ohm One10 is that the Two10 will get 40% of the power (split between its two speakers, so 20% each) and the One10 will get 60%. So the One10 will be getting to its limit while the Two10 is just ticking over. I wonder if that rig will really be much louder than the Two10 on its own in 4-ohm mode. The reason the 4-ohm Two10 and the 8-ohm One10 works well (if the amp can handle it) is that the power is split equally, so all three speakers receive the same amount.

Yes, it's really fun to play. We're based Bucks-London; it's nearly all weddings and private functions in the south half of England. We typically do two sets, 45 to 60 minutes each. The set list looks long, but some of the songs are medleys so it's not always the full-length versions. Also there is always contingency - I think we skipped at least three of the above in the end. Respect is the Aretha version. I missed out the first set list for this thread as it's less "standard functions". I'm on upright, and it's swing, Rat Pack, Louis Prima, some latin. Twistin' the Night Away, Jump Jive & Wail, Sway, Reet Petite, ... It's either female lead vocals or female & male. The set list (and keys) move around a bit depending on who is singing on any given night.

HX Stomp + QSC CP12.

I tried it this way, and it's better than the way I was doing it. It's easier to get it in, and then once there it's more stable. 👍

If you want a data point, our second set tonight was: Higher and Higher Car Wash Blame it on the Boogie Superstition Signed, Sealed, Delivered Heatwave Dancing in the Street Heard it Through the Grapevine Rescue Me Say a Little Prayer Think Respect You Can’t Hurry Love Young Hearts Run Free For Once In My Life Sir Duke 9 to 5 Valerie December 1963 Can’t Take My Eyes Off You Don’t Stop Me Now No Sex on Fire but Superstition and Valerie are indeed in there

Would it though? I use a PA speaker which claims it is "50 Hz - 20 kHz"; additionally I high-pass at 80Hz. I think it sounds really good.

I haven't used an RCF 315 so I'm unsure how loud that one in particular goes, and importantly what happens to the low end as the volume goes up. In general though, if it's just for backline, it comes down to do you want a transparent cab, or one which changes the mids, rolls off a bit of top end, and perhaps the very low end? Either could sound good - I think it comes down to personal preference, type of instrument/musical style. Are you unhappy with the Ashdown 2x10 in some way?

I can put my settings if it's of interest. For context, I'm playing five-string P bass with flats, "wedding repertoire" leaning towards Motown, with a 10-piece band. I'm actually not using a Zoom right now as I'm currently trying out the EBS MicroBass 3. Anyway, the Zoom settings: 1: OptComp 4, 54, 65 2: B-Man 3, 3, 0; 400, 40, 71; OFF, BM 4x12, 64 3: Bass BB 14, 0, -4; 16, 70 4: Ac Bc Pre 50, 8 [60Hz], 100; 0, 0, 800; 0, 0, 0

Sweetwater (the USA retailer) are the only ones I've heard of who weigh each individual bass.