thinman

Oh dear yes. I put it down to age. My head seems to be working in a "one in, one out" mode with songs now.

I suppose we're starting to tread into unknown territory these days with more (post-Cliff) rockers getting into their 60's and 70's. There' no real precedent for how they shold behave or what they should do. In many cases it gets a bit cringeworthy to me. Johnny Cash pulled it off IMO.

Like Jigster said, it seems some engineers compress the bass to death and shove up the 80Hz band a load so that there's just this generic loud bass sound devoid of any tone. Sounds impressive to many punters maybe but lacking in character to me.

[quote name='arsenic' post='682230' date='Dec 12 2009, 03:20 PM']I actuall find this part of your post insulting. not everyone who doesn't play in [u]any[/u] band at all is a sad case. I don't for a very specific reason, I have lost some of the use of my left hand/arm, and will probobly never get it back - I know that I will unlikely be good enough to play in a band again - so I play for my own pleasure while I try to come to terms with this disability, and essentially learn to play all over again, working out a technique that will be suitable for my situation. I do talk about what I have done in the past, and I do try to guide my son who plays bass, and his band, to avoid them making the same mistakes I made in the past.....and based on your comment this makes me a sad case does it.....well thank you very much.[/quote] You have my sincere apologies - I am certainly not trying to imply that people in your situation are sad cases. And, I'm certainly not having a pop at anyone that chooses not to be in a band if that suits them. I think "Eight's" post put it better than I but, at the risk of digging myself deeper into a hole, there are individuals out there that talk a good job and knock those that actively do something (and by "do" I mean play in any capacity in a situation that suits them). If you ever watched "The League of Gentlemen", the former member of "Creme Brulee" was what I had in mind. Again, apologies if you found my post insulting. I'm not in the habit of trying to upset anyone here and I admire your tenacity at continuing to play despite a disability.

As regards the OP I wonder if it's just a case that it's somtimes bloody difficult to assemble a band? Better to be in any band that's active than being one of those sad cases that actually does nothing but tell people what they did or would do! I feel very lucky at how the band I'm in fell together - we all get on fine, have a laugh, are musically fairly equal and have enough overlap in tastes to get along. I tried to put a second band together earlier this year as I and couple of the others had more time than the rest and it was really difficult trying to find people at all for some roles, let alone the right people.

[quote name='mrcrow' post='679387' date='Dec 9 2009, 07:00 PM']the old favourite..check the bridge earth...i put on a black bridge and had to scrape of some black to get the wire underneath to give an earth reading when fitted also jazz pups only buck hum when both are on full volume.... of course all the earlier comments apply...and check it out on different places...my home sockets induce hum when the boiler pump is running best of luck[/quote] Just reinforcing the comment above. My jazz hums a bit if either pickup volume is lower than the other but silent when both at the same level. But any extra screening may help.

If you're into DIY don't forget the BFM cabs. I run an Omni 10 loaded with 2 * Deltalites in it and I'm very happy with it.

I want someone to buy my Jet King advertised on here so I can buy myself a Squier CV 60's P, or do I want the CV Jazz? A lot cheaper than what you lot want! Sorry - I think those Hellbog things are the Jabba the Hutts of the bass world.

[quote name='Al Heeley' post='668953' date='Nov 29 2009, 10:31 AM']Exactly the same thing happened again at the giog last night, with the MB115 extension cab - low power and dreadful intermittant distorted sound. Took the crossover card out when I got home and found same white fuse block legs had loosened from the solder point onto the pcb. This is really disappointing sloppy QC from the Marshall factory - thats a spate of failures all on the crossover cards within 10 months of purchase.[/quote] Solder joints can be prone to cracking - especially when there's a large component that might be subject to vibration. In a lot of guitar/bass amps large components like capacitors etc are often glued on with hot-melt glue and/or tied on with cable ties. I had a problem with an amp like that. I also had problems with a boiler control PCB that kept faiing for the same reason.

I bought an Ashdown dual band bass compressor. Totally useless in my opinion! Just overdrives too easily and can't get a useful sound out of it. I now use a TFPro P3 (same people as Joe Meek) which is a half rack unit that I'd bought for general recording rather than for bass. Not sure you can still get them. Either way it's only a single band but has all the right knobs and I think it sounds great. Would recommend one if you can find one. [url="http://www.soundonsound.com/sos/Jul03/articles/tfpro.asp"]http://www.soundonsound.com/sos/Jul03/articles/tfpro.asp[/url]

[quote name='BOD2' post='661364' date='Nov 21 2009, 10:03 PM']Yes, both of these outputs would do the job. Use "Balanced Out" for longer cable runs as balanced signals are less susceptible to noise. But for a shortish cable run the "Line Out" would do the job just as well. One thing to watch out for when using the "Balanced Out" (or any output on an XLR connector rather than a jack plug) is that if "Phantom power" is used on the mixing desk and applied to the channel to which the bass amp is connected then there may be risk of damage to the amp - you'd have to confirm that this would be ok with Roland. A well designed DI-out will be able to cope with Phantom power without any problems. (Phantom power is used to send power to some types of mics - if none of your mics need phantom power then you can switch this off at the desk and there are no problems whatsoever).[/quote] I did what obbm of this very forum suggested and got a short XLR lead and disconnected pin 1 for use with desks where there may be phantom power. That means there's no circuit for the 48v phantom supply but the signal's OK as it's carried on pins 2 and 3. Saves the worry of damage without the cost of an isolating transformer.

We use some cheapo Thomann active PA speakers for vocal monitors and on their own they're a nightmare for feedback - probably because they've got a very peaky response - so much so it wasn't possible to get any useful volume out of them. I tried a Behringer feedback destroyer in the feed to the monitors and found it wasn't a great deal of use. I'm not suggesting this wholly as an alternative to good mic and monitor placement but it helps enormously. A 31-band graphic was the answer (althought some people use 3 or 4 -band parametrics.). We've only got a limited budget so we have a Behringer 3102 which has LEDs on each fader. We run the PA in mono using one side of the graphic for FOH and the other side for the monitors. It's really easy to use to "ring out" the PA. It's not often necessary to ring out the FOH as the monitors are the main culprits. Ringing out: Do the monitor feed only with the FOH turned down. Set the graphic flat. Set the mic gains about right then turn up the gain to the monitors until feedback starts. On the Behringer the slider associated with the feedback frequency will light up so you notch that down a few dB. You bring up the gain again and feedback will occur at another frequency (or the same one as before if it wasn't cut enough) so you notch that one out a bit too. You usually have to repeat about 3 or 4 times. When you get to the point that there are multiple frequencies feeding back at once then you've done as much as possible. You then have to drop the gain back to not "ring". I also tend to cut below about 150Hz as it's a waste of power for vocals.