Chienmortbb

Thomann are UK VAT registered. They pay vat directly to HMRC.

Strings are a composite, they can have round or hexagonal cores and round, flay, tape or even ground windings. I am not sure a mass calculation based on anything but a detailed knowledge of the core and winding material would be accurate enough.

When I researched this some years ago, even many of the solvent based finishes took weeks to fully cure. Of course there will have been advances over the years. It might help if you mentioned the type and brands you have used.

In every industry there is a company that you will “never get fired for buying”. In our industry, Fender are one and Shure is another. It does not mean that they are the best, they certainly are not always the best. if you find something that works for you, be happy, let others know but don’t ram it down the throat of others. Me? I have a Japanese Aerodyne Jazz bass, a P/J. I have never played a Jazz or Precision from the USA that I liked. I did have a Squire in the Early days that was great, wish I had never sold it. I sing BVs but do not own an SM58. I use Sontronics Solos. Of course they are made on the hill above my old house in good old Dorset but they are just a great mic. https://youtu.be/RfQCLQrsPyA Of course there is nothing wrong with Fender USA basses of Shure Microphones so please don’t look down on those poor souls that have to make do with an SM58 and a pre CBS Fender.These designs may be older than me but we can all still shake a tail feather!

You are not wrong but of course the output of some pickups when using a plectrum or slapping is much higher, from memory peaking at well over 1V and the techniques for rail splitting are not perfect. The NE5532 is one of my favourite chips but a 9V battery would drain fast with the NE5532. . Using 18V and a low power OpAmp will give a much longer time between battery changes/charges. In an ideal world basses would use 18V used to create +9, 0, -9V. That is what the chips need but it would require an on/off switch on the bass rather than rely on a stereo jack socket.

On the bright side, look how many of us have looked over there since the relaunch.

I have used half round or ground wound strings and they were great to play, however very high tension. Saying that they were the best all round strings. Low string noise, almost as bright as a good new round wound. The old Welsh made Picato Ground wounds were my favourite.

If you have to tweak the truss rod, the tension is much different.

To me they are higher tension than most round-wounds I have used.

On a serious note, Boring electronics warning (Bb?) one of the best reasons for using a higher voltage is that the circuit will operate for longer even when the batteries are close to discharge. Transistors and Integrated circuit designs will have a minimum working voltage beyond which the circuits become non-linear. In the case of fuzz, overdrive and drive circuits, more non-linear and unpredictable. Most Operational Amplifiers work on twin rails with one positive and one negative rail. To use them on 9V means some form of voltage divider, so each side has only 4.5 volts nominal. The voltage divider may itself reduce the available voltage. Take the workhorse TL072, this has a minimum working voltage of 4.5V. If you use a rechargeable 9V NiMh battery the nominal voltage is 8.4V and as it discharges it will reach 4.5V before two batteries in series that would be at 9V at the same point in the discharge cycle. Now the voltage swing of an Op Amp is limited by the supply voltage so at 4.5V, in an ideal world, that would be 4.5V peak to peak, 2.25V peak or just just over 1.5V RMS. Using 18volts (2 x 9V) that would double the minimum output to 3.0V RMS, a more useable output. Of course modern Op Amps will operate on much lower voltages but clearly, these are more expensive and often not used on many designs.

In my apprentice days, 50 odd years ago, the biggest threat said in an electronics workplace was “ I’ll stick that soldering iron up your derrière, handle first”. Looks like she would have no trouble getting it back out.

I have been critical of Bass Direct in the past and the old website was awful but this is a big improvement. It’s not perfect and like and software, there will be bugs. The filter choice that comes up when you selects a category should be on a sub menu. It rakes up too much “real estate”. The first thing you should see is some product. These are my first thoughts and I have not spent a long time going all around the site. However it’s a start and good stock control should go some way to address in some of the problems other have encountered.

Yes to the Puretone, also look at the Artec one. It is very good.

+1

Oh dear. Rookie errors.

Oh I see, Some of the Harley Benton ones do I believe.

What do you call Dance Music? It's not a trick question, I am just interested.

Do you think this indicates that we place too much emphasis on the low end? Would a drummer with a mic’d up kit change the situation? I suspect that unless you were a reggae/dub band a good pair of 12s would be more than enough for most pub gigs.

One of us is confused. The ANT is mains powered.

I was on the committee that worked on the second revision to EN300422 (EN 300422-1?). At that time the 5GHz band was allocated solely for the use of PMSE, wireless mics, IEMs and audio links. At that time, analogue was not allowed in 5 GHz band, hence my mistake. Sadly, all the major manufacturers were there proposing different schemes and the CH69 switch-off was a long way away. For years there was no equipment made/sold for the 5GHz band, and so it became a shared band.

I cannot really blame Shure. The whole hall was flooded with 863-865MHz Wireless Mics.

@EBS_freakis already saddling up his charger (get it?) but her is my take. Channel 70- Like 2.4GHz is not dedicated to PMSE* and has all sorts of things using it. The bottom end is very close to the frequencies used by 4G/5G mobile networks, and they are notorious for overlapping into different bands. In a full stand at Poole Town, our Ch70 mic was almost useless once the mobile operators started using what used to be Ch69. We solved that problem with a Ch38 mic. However, the Licence for a Channel 38 Mic currently costs £75 per year. I have also attended an AV exhibition where Shure kindly lent us a Channel 70 radio mic. Again, it was unusable on any part of Channel 70, due to the number of Channel 70 mics being used in a small area. Channel 38 is relatively interference free except close to a big venue, i.e a West End theatre 2.4GHz has two problems, the main one being that all its channels except 1 and 13 (from memory) (memory bad it is Channels 1, 6 and 11 as pointed out by @EBS_freak) overlap with adjacent channels, so Channel 2 overlaps with Ch1 and Ch3. In contrast, 5.8GHz channels do not overlap, so even with higher use and shorter theoretical range, it is IMHO still a better bet. 6 Channel 70 and 38 are traditionally Analogue and do not suffer from significant delay. Digital systems have a delay/latency built in. If want your system to have the best chance of working, go Channel 38 or 5GHz.

The Harley Benton seems OK . I have had one for about 6 months https://www.thomann.de/gb/harley_benton_airborne_pro_5.8ghz_instrument.htm

All part of the service😇

You have not removed enough of the carbon shield I suspect. Modern instrument cables have two screens, a copper one and a conductive PVC. it is the conduct of PVC that stops crackles win. Cables are moved around. Conductive, PVC is almost always black as it consists mainly of carbon, and it needs to be stripped away from the cable that goes to the tip of the Jack Bug. The inner cable usually screened with either white or a transparent insulator. you need some clear or white insulate are showing beyond the Black screen. If not you will get a signal but it will be low or muffled. See picture below. I have repaired a number of cables made by BBC members where this mistake has been made.