thinman

[quote name='Happy Jack' post='660987' date='Nov 21 2009, 01:48 PM']NO! Don't do it!

Buy a DI box, nothing fancy, just a £30 battery-powered jobbie you can sling in your gig bag along with an XLR cable.

If your amp dies on you, in 60 seconds flat you can be playing through the PA.

It won't be perfect and it's certainly not a long-term solution (IMO anyway) but it'll get you through the one gig where your amp dies.[/quote]

Fair point but that assumes you're always playing at the level where you have a PA up to the job. Many pub gigs don't.

If you maintain your main bass properly you shouldn't have much problem. But then there's always accidents...

I bought a cheapish Ibanez Jet King as backup to my Jazz but I think I made a big mistake there. If you really think you need a backup bass rather than just something different, get one that's very similar to your main one. The Ibanez is very different in feel and sound to the Jazz plus it's a 22-fret which throws me out for while. Consequently I've never really used it and am thinking of selling it and getting Squier Jazz or similar.

As others have mentioned here, a spare amp is probably money better spent so go fo a separate cab and head. I take a spare head with me which is far preferable to lugging about a combo.

I've got Wizard 84s on my MIM Jazz and it's pretty capable of growling. I've got a S1 switch fitted too which adds to that side of it when both are switched in series.

In answer to your original question the pups are wired the same - in standard wiring they're just mixed together via their respective volume pots. The two pickups are labelled as different though - don't have it to hand to check but not sure if it's physical size and/or impedance.

Mike

[quote name='witterth' post='588938' date='Sep 3 2009, 06:21 PM']I'm about to collect back some cabs that have lain dormant for years in a pub cellar, provided damp ( which is a distinct possibility ) hasn't ruined them
I ve heard new/havent been used in ages, speakers should be "run in " what does that mean no more than 56mph??
seriously what should I do?
they are 2x10 & 2x18 4ohm Trace elliot cabs (regular readers- "oh no not THEM AGAIN!! )[/quote]

I think I'd be inclined to open up the cabs and let them stand somewhere dry and well ventilated for a couple of days. Give them a good inspection to make sure there's no rot.

I don't know if the drivers would need breaking in again if they're already well used - some people do break in drivers by running a 30Hz signal through them at low power (enough to make cone movement visible) but NOT with the cabinet closed, i.e. do it as though they're in free air.

Once you're sure they're dry and intact it may just be a case of using them very carefully at first and gradually turning up the level over a few hours of playing.

Once you start using vocal monitors you'll really need a 31 band graphic or 3 or 4 band parametric so that you can "ring out" your system and get rid of feedback problems. Don't try it with a 15 band - it's far too coarse.

When we first started using monitors feedback became quite a problem when trying to use them at a useful level - especially when there's a reflective wall close behind you.

We only use a cheap Behringer graphic but it's got LEDs on each fader which light up when there's a strong signal at that frequency.

Ringing out - nothing to do with digestive problems - it's about finding out the frequencies where feedback occurs. With the graphic I've got you set the system up as you want it then with the graphic set flat you turn up the monitors until feedback starts happening. The fader for the frequency that it's happening at lights up so you cut that fader. You then turn the system up again and you might get feedback at another frequency so you cut that. You can usually do that about 3 times in all after which you get feedback occurring at a couple of frequencies simultaneously. By that time you've done about as much as you can. Generally you then turn the gain down a bit and you can use your monitors quite loud without feedback.

Having said that mucking around with mic and monitor placement helps a lot but we don't often have the luxury of space!. Also, if you're just monitoring vocals it's worth cutting the bass off the monitor feed - saves power and mush!

Cheap alternative: Thread your lead through a belt loop so you can't take the bass off/put it down without unplugging.

The advice given above is all sound ('scuse pun).

Cutting the low end on the vocal mics is very worthwhile - it cleans up the sound a fair bit. Not only does it help the vocal intelligibility, it saves you a bit of power too. Cut as much as you can without impairing the sound.

[quote name='thepurpleblob' post='479913' date='May 5 2009, 02:05 PM']Actually, the only thing that annoys me more than mucking around setting up is mucking around taking it down. The, "oh we'll just go for a smoke", "we'll just go and talk to our mates" etc. effect. No you won't. Take it down, put it in the van, I'll go home and you can do whatever you like [/quote]

I'm so glad it's not just me then. I'm in a band of technophobes. The two girl singers are very willing (to help set up and break down I hasten to add) but they seem to insist on running cables at kneck height.

I'd rather do the whole setup myself if there's time - it's less painful.

Well, even if only one person likes it and listens to it then it still has a value.

Personally I don't get it but I'm glad it's there.

[quote name='escholl' post='458017' date='Apr 9 2009, 12:39 AM']it's all about the frequencies that will cut through -- guitarists tend to get rid of their upper mids, hence leaving them for you

see if you can get them to roll off the bass control on their amps a LOT -- it won't sound so great on its own but in the band suddenly everything will be much clearer [/quote]

+lots

I'm always having this debate with our guitarists. They want a sound that's "complete" by itself rather than one that works in context. I agree with escholl that primarily you have to get them to cut the bass off otherwise the band can sound muddy - it's the same when mixing tracks when recording - you often roll the bass of everything that's not primarily bassy.

It's a bloody hard job though because they always say "that sounds horrible now" and they adjust it once but the eq creeps back next time! I've got round them by micing them up and putting them through the PA with the lows cut - they seem to accept playing more quietly more readily than chaning their tone!

Similarly I've found that the bass sound that works best in the band doesn't sound that great by itself - very middy seems to work well. It's about realising that in a band it's what the whole sounds like rather than it being a battle of big individual sounds.

I reckon there's (often - not always) a correlation between finish and type of music played:

Jazz/funk and sometimes poodle-perm euro rock - natural
Punk, new wave, indie - black or white, patterned
Oldies, soul, indi - sunburst
Bright metallic - metal

Any more?

Not being an acoustic player I may be talking through my hat here but I'd imagine you'd be looking for something fairly "hi-fi", i.e. doesn't add any colouration to the sound.

I'd have though a good multi-way full-range cab would be required, E.g. a BFM Omni 15. Would a keyboard amp be nore appropriate than your average bass combo?

I think it's part of the "eggs in one basket" argument against combos.

I'd expect the amp to be more likely to pop than a driver so carrying an extra head is a bit more practical than a whole extra combo.

Not sure if everyone playing pub-type gigs always has a PA up to acting as the only bass amplification.

Are insurance companies generally OK about damaged caused by boiling meths on your cooker?

Old problem I'm sure but I have problems with the A string on my MIM Jazz jumping out occassionally and coming to rest nearer the E.

I assume the main problem is that the slot doesn't align with the edge of the tuning machine too well or that they assume a certain amount of turns of string to make up that distance (which I may not have).

What would you recommend:

1. New nut with deeper slots - the Jazz ones seem quite shallow?

2. Fit a string tree?

3. Wind more turns on the tuning machine?

4. Convince my wife I need a new, really good, bass?

Yeah - good value for money.

My MAG went bang however. I believe there was a batch of MAGs with dodgy mains transformers.

As a manufactuer they are not "wooly" per se - it's not the heads - it's their 15" cabs.

Go and try but in my opinion avoid the 15".

Arab.


There, must have beaten BBC to that. (If that's anything to be proud of).

Can't help you specifically but we recently had to give up our rehearsal space and thought we'd be up the swanny. We started asking around village halls and pavilions etc thinking we'd get the cold shoulder when we said we wanted band practice space but everyone was really helpful.

We now alternate between a village hall with a nice stage and a modern pavilion witha social room about 25' square. Both have easy access, heating, toilets and a kitchen for less than £10 an hour. We wondered why we used the other place which was freezing cold in winter and boiling hot in summer.

OK, you have to take all your own gear and we stop at 10pm but otherwise it's been quite easy.

[quote name='bassmansky' post='423579' date='Mar 2 2009, 07:44 PM']i have it switched to dc and have been making contact with lead,nothing.i know the meter works because i tested a battery with it.ive changed meter wires round to see if it makes a difference,nothing!what ive read elsewhere shouldnt you test inside amp?[/quote]

If there was a voltage I'd expect it to be DC - if it was AC you probably hear it very loudly (assuming it was at an audio frequency)!

If you're reading 0v then either the meter's on too high a scale or there's no problem.

Pickups heating up though would seem to imply some form of energy getting in there, i.e. a current passing though but as you mention, the fact it doesn't happen on another bass is odd.

I'd be very worried about the amp!

Can you get access to a voltmeter/multimeter? If so, plug your lead in and , with the amp on, measure across the tip and sleeve of the end you'd plug into the bass. With the meter on a DC voltage measurement range (start on a high range and work down if no reading). If you see anything above a few millivolts then I think you've got a problem.

If I had to guess it may be an input capacitor gone short circuit letting the pre-amp supply voltage (12v-ish) through to the pickup.

Can't think of any reason to check the bass if it's totally passive.

What do we we class as "odd"?

I suppose I look upon anything that's not 3/4, 4/4, 4/8 or 6/8 and maybe a few others as odd but then I'm very limited!

5/4 is bit "odd" but quite common.

How about "River Man" by Nick Drake and "Gun Fury" by The Damned.

This all makes me think "why?"

If you play big gigs then you'll have PA support and the sound man won't thank you for having such a loud rig fighting with, and probably degrading the overall sound.

If you're playing without PA then how much use of such a rig will you make whilst achieving a good band sound?

We've not found any deps because a couple of them won't accept the idea.

I think it is an insecurity thing but I've tried to make it clear that it would only be for one-offs for dates over which w have no control and that deps would be no more than that - there really is no ulterior motive.

Our drummer is away for 6-7 weeks every year on holidays so it also means we can't even practice during that time he's that fussy about it!

I've had the "special ingredient" argument thrown at me, the notion that no-one would be good enough(!!) and I also suspect the insecurity element is significant too!

I wouldn't dare suggest that anyone changes their domestic arrangements but intransigence about supporting a stand-in means we shut down for 4-5 weeks at a time sometimes! I feel a bit held to ransom.

How do most of you find using deputies works?

Do the people they dep for object?

I'm a bit disappointed with a couple of people in our band in that they won't support the idea of people covering for them when they're not available. We're a 7 piece all with kids and families so the chances of someone not being about are quite high. Consequently we've had to turn down a few nice opportunities.

Funnily enough the two that object most are the least available two.

I'm quite happy with the idea that we aim to not book stuff when we know someone's away but sometimes we're offered good stuff on dates outside of our control. If it was me not being unavailable I wouldn't feel that I could demand the rest turn something down but they obviously feel that they can.