Chienmortbb

Wow, that is quite a list and all important, I can only add type of construction of the connectors and the difference between unbalanced and balanced connections. The question is how much detail? I suppose if I touch on everything briefly, people can ask for more information if they need it.

I have decided to post this here, as I was diverting the small mixer thread. I was having a discussion with @EBS_freakabout wireless systems. So we agreed that you need to spend a bit on a good system. I thought I saw a post that someone recommended an Xvive system. Now the one I have found is the U4 and that has a delay (alright, latency if you must) of 5mS. Unless there is another system, that seems excessive.

Stereo FoH is a not a good idea. Stereo only works if you are in the sweet spot, and few will be. Of course, headphones are different as you are in the sweet spot(ish). So it mke sense to have a mono mix for FoH and stereo monitor mix. Of course, this does assume you have a dedicated sound tech/mixist.

It is a b when you get your screw pot out and keep pulling out BA and UNC.

As many of you know I have been making cables for some on BC since OBBM retired. Now like all things simple, the leads that connect us are more complex than meets the ear. I am happy to discuss on a 121 basis with anyone but wondered if an in-depth thread on cables and connectors would be useful. To me many things are second nature but I have had cases where players that spend £thousands on their bass/amp/cab combo will use a cheap and nasty cable. Of course it will be my opinion, but I have acquired a great deal of experience Audio connectors and cables over the years. I could tell you why I won’t use some brands and where I think Snake Oil is being peddled. However if dad ole me is the only one interested I will just go and cuddle some Neutriks.

Of course, a digital wireless IEM would just make matters worse. Given the subjectively poor sound we hear on stage (assuming the stage is NOT silent), how good/expensive does an IEM channel need to be worthwhile? I used one of those low cost Ch70* systems once and the sound quality was more than adequate, with a decent set of "buds". What let it down was that build quality AND the fact that it was on an overcrowded frequency band. I once borrowed a Shure Ch70* mic system for use on an exhibition stand, thanks to the kind people at Shure. It was unusable as that band was swamped n the exhibition hall. Hence, I never use anything in that band now. *Ch70 or Channel 70 is the licence free UHF band covering the frequencies 863-863 MHz.

I wonder whether the finger to string contact when we are playing is somehow compensated by our brains in some way? I can understand a big delay being a problem for a singer, especially from monitors. However, with 10mS delay through my wireless and multi effects unit, I seem to I don't seem to notice it. Of course in that situation I only have one sound source, my rig, except for the rest of the band.

Yes I tried most of them today, as well as the drives, and you are not wrong.

I have used the real DB160 so I guess I should start there. Thanks.

I am intrigued to know how the 5 sided cab in the front sounds.

Anyone played with the compressors and if so what did you like?

This plus if you want to drill all the way through, clamp a piece of sacrificial wood to the top and bottom. This will protect both the finish at the top and tear out at the bottom. Oh and before you do it, line up the machine heads on the headstock to make sure they look right. Sometimes the shaft lengths on replacement are different, on my Aerodyne I fitted Gotoh Re-O-Lite clover heads and the shaft lengths are a tad long ( to be honest I did not do enough research as they did a drop in replacement for the Femder ones). The extra length does not bother me but it might bother some people. I also nearly came a cropper on my Sire when I replaced the stock machine heads with Hipshots.

Good to know but I will have to check that.

I never did that bit of the.course. They wanted 200 Groats so I gnawed on a wild boar bone, thought about it , and reported them to the Sheriff of Nottingham as Tax Avoiders.

Yes, pedant alert, there are phase shifts in analogue mixers and that is effectively a delay. As a designer of digital circuits in a former life, what we call latency in the Audio world is called propagation delay in the digital world. However, you are correct that the problem IS in the digital world. We have to be careful with some delay is useful when added as an effect, but only when compared to the dry signal. Latency is not really much of an issue for bass, IMHO, especially for those of us that stay clear of the dusty end and do not have lots of digits in the chain. For what it's worth, I use a Smoothound and the Latency has not been a problem. However, I don't use any form of digital for monitoring. For a singer, especially a female singer, it could be catastrophic, especially for monitoring. With the problems of digital mixers, you might ask "why bother". MY Ui16 is the size of a stage box with the same number of in/outs. It has 12 mic line inputs, plus up to 6 AUX outputs. So I can mic or DI the whole 5-piece band, including drums. I have to say that I now wonder how much delay is in my Soundcraft Ui16 (reaches for his digital 'scope).

I know. The guitarist in my last band was a huge Rush fan, and we had to agree to differ. It is not genre-specific. I like what is loosely called Prog Rock. Of course, it also means anything endorsed by "The Great Man" is out of bounds for me. It may be irrational, but there you go. Maybe I should start a ban Jaco campaign and get banned from Basschat?😀

Yes, the BDI21 has a mid-suck if you have the Drive and blend knobs anywhere but fully anti-clockwise. The sweep below shows a 5-6dB suck centred on 700Hz will all controls at 12 o'clock. It is worth noting that you need to up the level; control to get to unity gain, that is, when the output is the same level as the input. If you do turn off the offending controls, with all the others at 12 o'clock, except Treble backed off to 10 o'clock, you get: A very nice flat DI with a built-in HPF. Of course, there is a modification to get the mids back, and I will be modding mine soon. I will report on that later.

Compression alone cannot remove harmonics or what the OP called overtones. In fact, as they are lower levels than the fundamental, they are more likely to be accentuated by compression.

The sound of Geddy Lee's bass, he might as well be using washing machines.

Why can you make this assumption?

As some have said, I bought most of Dave/OBBM's stock when he retired and have been making cables for folks on here ever since. Happy to quote for you. I will soon have a website running, but in the meantime just DM me.

Have you asked Ashdown about it?

To be fair, they are all @stevie's work. As I understand it, a few people were asked to test early versions, and @Phil Starrordered one early on. However, all the clever stuff was @stevie

With the hatch varnish, thin it fit the first couple of coats and it will penetrate the surface of the ply. That should make it tougher.

You would not fry it going to the States, but might if you forgot to change the voltage back on return.