thisnameistaken

Bear in mind that if it's a tone stack EQ, 'flat' may not mean having all the controls level. I remember on the Hartke LH500 I had (lovely amp too) there was an obvious scoop in the mids with everything pointing to 12 O'Clock.

Really? Only I've noticed the difference of having stuff like bow quivers and preamps attached to my tailpiece, so I figured damping the strings would have an equally dulling effect, if not more so.

I think I'll go for filling the F-holes first then and see where that gets me.

I once played a gig in a school gym, it was basically impossible! Everything we played came back at us - pretty much unattenuated - about a quarter of a second later, so it was a struggle to even play in time. Enjoy! SRSLY try to get some dampening on the walls. Preferably lots on all the walls but if that's not possible at least try to do the wall your speakers are facing.

Yeah I was hoping you might read this thread because I remember the sort of things you were doing. So even after all that you had feedback problems? I was hoping you might have found you didn't need some of the damping you were doing!

[quote name='Happy Jack' timestamp='1390898335' post='2350916'] Look around you. Every summer sees another 10,000 music graduates dumped on the market. ... They all understand music theory and can sight-read written parts. They have stored on their phones the numbers of hundreds of other musicians who they were at college with, and they can form multiple scratch bands in any [i]genre [/i]with a couple of texts. [/quote] Half my current band is those people. If I had to replace my whole band they would be the ones I wouldn't struggle with. Similarly the last band I was in, the most important member knew the least about music and wasn't a very good instrumentalist. The band would not work without him, whereas everybody else was entirely replaceable. Being able to put together a band in any genre is fine, but they'll always be second rate compared to bands who actually care about that genre.

Yeah that's the sort of thing I'm thinking of doing. Maybe I can use the bassmax signal for monitoring and the ehrlund FoH, if I'm lucky...

[quote name='Monckyman' timestamp='1390858873' post='2350652'] 80% of young bands who fully believe they are the next big thing, are in fact, quite crap in actuality. [/quote] But the 20% (more like 5%, maybe lower) who are actually really good don't get paid either. TBH with the new band I'm putting together this year I'm not intending to gig at all unless someone offers me money to do it. We'll be recording and trying to build a buzz that way and then see if the small festivals want some. I can't be arsed with spending all night at a sh*t venue to not even break even any more. And no I don't want to join a wedding band. I'd rather not gig than do that. Actually I'd rather slit my wrists.

Yeah I don't think it will cope very well, but it's surprised me so far. It's not like a mic where if it heard your monitor you'd be totally hosed, but I've found if the top is vibrating like crazy like if the bass is too near an amp or whatever, that causes problems. I've found it's more an issue if a guitar amp is too close rather than my own playing causing feedback. Still, I'd be surprised if I got away with it. And it's a shame because it's so much nicer using the Ehrlund compared to anything else I've ever tried. Thanks for the advice though and I'll give it a try working out what my bass's preferred feedback frequency(s) is|are.

If I was as good as him I wouldn't give a toss how the bass was tuned! Seriously though most of the music I play is based in pentatonics and I think I would struggle a lot with 5ths tuning.

Incidentally I've never had problems with analogue octavers tracking fast playing. It's usually low notes on the bass and long notes that result in glitchy performance. Especially low, long notes! One tune I recorded with my last band required my OC-2 to track a bar-long D2 and it just didn't work until I tried the bass I have strung with flatwounds, then I reckon I could've got a 2-bar note out of it. Typically though you can get down to A2 for brief notes before you start encountering issues.

Danny: The Ehrlund pre does have a phase switch but I don't know if that will be enough. I'm imagining a lot of stage volume and the body vibrating a lot from drums/percussion/guitar. Rabbie: Funnily enough my amp is a GB shuttle 6 and my cab is a Schroeder 2x12. I'll try the bass max and see how it goes. I do have a Plat Pro but haven't been using it since I got the Ehrlund, I've kept it though in case I needed to use a bridge-mounted piezo again. It's such a shame because I love the sound of the Ehrlund. I'm not entirely sure it won't cope because I've got away with it in the trio gigs I've been doing (drums and guitar doing european folk stuff), but I am expecting it to just cause a load of feedback in this gig - it's an electric gig really, jazzy hip-hop. To be honest I was wondering if I might get away with using the Ehrlund if I dampened the bass a bit. I don't know if anyone's had any experience of doing that?

Looks like I'll be playing DB in a full amplified band for the first time, so unfortunately I doubt my Ehrlund is going to be especially useful. I'm familiar with piezos having owned a few (still got a Realist and a Bassmax in a drawer somewhere) but I've never gone all out to dampen a bass to prevent feedback and I might have to start doing that. In which case what should I try first? Plugging the f-holes? Dampening the tailpiece? Anything else? I'd like to make this a progressive effort - not doing anything I don't have to do - and I'm wondering what to try in what order if anyone's got any suggestions. I don't really want to go down the magnetic pickup route if I can help it.

I had a Micro POG for a bit. I didn't like the weedy/chimey nature of its digitally-resampled octaves. Of course any digital pedal will do a better job of reproducing your pitch but they're not really 'tracking' anything. They're useful for whammy effects but of course the Micro POG doesn't do that. I much prefer the sound of an analogue octave down, and I'm happy to put up with the tracking foibles.

I really want to try to LoFi Machine but I've never found one in a shop anywhere. Well worth a punt I would think though (I haven't bought one because I've got a Bugcrusher which does much the same thing). I also imagine the Frantabit would be good at what it does. I would lean towards sample rate reducing rather than bitcrushing though. It tends to give you a bigger range of useful sounds with progressively more pitch-related levels of destruction, whereas bitcrushing effects are much, much messier. To me the sample rate reduction sounds like the input but with extra overtones, whereas bitcrushing sounds like the input with added noise. If that makes any sense.

Bear in mind if you're adjusting the pickups to be close to the strings, you should play some stuff higher up the neck which will of course put your strings closer to the pickups. Also bear in mind that sometimes if a string is too close to a pickup, the pickup can affect its vibration in weird ways - adding unusual overtones or even making the string sound out of tune. Especially with the thicker strings. So don't go too close.

I use the modelled analogue delays on my M9 quite a bit but only because I can control the feedback with an expression pedal, so I can have no repeats at heel down and can mix in the delay when there's space for it to sound good. Also as dannybuoy mentioned above it's nice not to have the bottom end in your repeats which is why I use the analogue delays that progressively lose the bass frequencies as they feed back. As for reverb I rarely use it. I tend towards playing staccato notes and I prefer silence in between them.

[quote name='0175westwood29' timestamp='1390602226' post='2347573'] aren't they all the same aswell? [/quote] Nearly! [quote name='Wooks79' timestamp='1390604387' post='2347596'] Looks like top left has just a touch of Octave -2, but none on the one next to it, and the far right has no dry, but full Octave -1 and Octave -2. Still... 3?! [/quote] The touch of octave -2 on the top left is accidental - that's how it was when I took it out of the case, I would've turned it back to zero before using it. The top two are in separate channels of the 2-channel mixer because when I make other silly noises I often mix with an OC-2 to keep some beef going on. The third one is a synth-modded one I bought on here the other day, so I don't really have three OC-2s because that one sounds totally different (and fricking amazing). I may well do away with one of the parallel OC-2s soon, I don't really use the one on the top-right much. Still I'll probably keep it in case the other one breaks, which it probably won't. It occurred to me last night that with the -2 octave oscillator in the Octavius Squeezer and the potential for 3 stacked Whammies in the M9 I could maybe drop my notes by a full 14 octaves if I wired them all in series. I don't suppose it would make much audible sound but I may well sh*t myself in the process.

De La Soul got him in for 'All Good?' too. How do you get to be the go-to guy for basically everything? Amazing really. http://www.youtube.com/watch?v=RO_H8JQ8QpU

Only down side is Iron Ether aren't taking orders at the moment and they don't come up used very often. I'm after one myself.

This what my board looks like at the moment but I suppose three OC-2s isn't strictly 'essential'...