Dood

Treat bridge mode as one amp, not two modules. So the load on the amplifier is 6 ohms.

So, bridge mode. In the power amp there are two identical amplifier stages. Both for example will have a minimum impedance (load) you can connect to each. Lets take a 4 Ohm cabinet as our example per amplifier channel. Now, when you switch the power amplifier in to bridge mode you are combining the two modules. You will in theory get more out put, however you need to add the output impedances together. In this case, your minimum impedance cabinet (single) you can add to this bridged amplifier is 8 ohms. Sometimes you are lucky enough to find a power amplifier that will run down to 4 Ohms in bridge mode which is handy for cabinets such as yours with a load of 6 ohms.

I think a better thread would be to explain in layman's terms what all of these technical phrases mean, then to demonstrate them with simple diagrams and calculations. This would allow each member to work it out and then post on the thread to ensure they are correct. For example La Bam, your question: The cabinet provides the load not the amplifier. So, you amplifier has a minimum load (in ohms) that it is happy with. I am going to assume that as above, in bridge mode you can have any impedance as long as it is higher than 4 ohms. Since your cabinet is 6 Ohms, your amplifier sees that load and thus that would be the "measured ohmage" across the output terminals. This is of course Impedance which is an AC measurement, not to be confused with Resistance which is a DC measurement that you'd make with a simple 'multimeter'. What the 6 ohms measurement does do (on paper at least) is affect the power reading of the amplifiers output. At 2 ohms difference though in this scenario, it's not worth bothering about as your 6x10 cones are moving plenty of air anyway.

Another one from the staff of UPS: (a reconstruction of real events) Sender: The parcel is all ready and I'll be in all day tomorrow. Receiver: Collection booked. Sender: UPS didn't come to collect the parcel. Receiver: UPS didn't fulfil the collection. They said that the parcel wasn't ready for collection. Sender: How could they possibly know that if they didn't even show up at the address. Oh and they were wrong anyway. We didn't go as far as to send them photographs made the day before of the labelled box sat next to my front door.

Oh wait! I've just remembered! I had the cables on my IEMs fail last year. By luck I'd bought a really cheap cable off eBay... which is still working today. I think if I had an IEM fail then I'd grab my ear plugs and wing it until the set breaks.

Never for me either. I think I've clocked up over 25 years gigging. I've only ever once had a signal path cable fail and I borrowed a speaker cable that failed on me at a gig as well. So, I would say make sure you have duplicates of cables, spare batteries and the like as well as WH has suggested - a contingency plan like plugging directly in to the PA. My pedal board has always been set up in a way that I can break a connection and get my noise direct to PA somehow!

Sorry to hear it, as I see from your location you’ve had to travel to see the gig! The sound at the UEA can be a bit temperamental depending on the gig, but it definitely sounds like it’s far from on form tonight! Yikes!

Oh yes, I have to agree with this. It makes huge sense. I don't even limit it to just bass either. I play guitar, a bit of keys and I spend time understanding drum parts too. Indeed, playing Prog Metal, I've easily been able to pull from the likes of Dil Katz (lovely phrasing on fretless) and Brian May's methods of writing guitar solos. Neither of these musicians play Prog Metal. (Well, not that I know of anyway ha ha!)

Another opportunity for me to wheel out and flog that dead horse again that is the "When Doves Cry" joke I can only think of one other baseline to match that and John Cage's 4'33" has it..

Direct Courier Solutions offer specific Musical Instrument shipping and I have had in writing on more than one occasion that they insure for both loss and damage. I believe they may use third party shippers, but on one occasion I do know that it was a well known company that did the collection. Worth looking in to further?

Hi! Another Norfolkateer here!

Click on my signature image for a link to my Spotify playlist with countless great bass lines in. You can even add your own favourites too!

Thing is, if this chap was studying art, he'd probably get an A for it. It reminds me of the time that a whole bunch of students faked blowing their student loans on a huge holiday. They shared memories of their "trip" on social media and all of a sudden the news got hold of it and blew the whole thing out of proportion. Everyone was up arms with them wasting "tax payers money" and all the usual stuff that comes out about students being wasters. If only. I hope he's doing the same to show how easy it is to manipulate on social media.

One of the things that can often make these choices more difficult is whether or not the other musicians you are working with understand good stage (and FOH) sound practices. If you do not have the luxury of IEMs and your band mates are offensively loud (or should I say, their instrument volume is offensively loud. Though I knew a drummer who fell in to that former category...) then you may be having to attempt to negotiate with them or have to bring enough gear to hear yourself. To answer the OP, I have, like some of you above, a predominately IEM based rig for the gigs I am doing the most often. I do have a backline for the "other" occasions though. It's a modular set up that will sound superb and do anything from 'fridge rig' sized gigs down to the much quieter 'cafe gig'.

Totally agree. I have a pair of 4" from Hypnotic and they are of the padded types. You totally have my agreement there.

WOW! I think I still have mine too! Somewhere!!

@Tech21NYC tagged as they are on BassChat. Hopefully will see a notification.

Always been a fan of this babe

I can't help but to get a little giddy with excitement over Jon's headless basses! I think you are quite right to say you have your own template! I think your two have the most identifiable outline in the range surely!? (Don't change it for the next one, ok?)

For a brief time when things were really bad, I actually put my 7 string (Doodle as it is known) up for sale. I still thank so many who sent messages telling me not to do it. Who needs kidneys anyway, I have my flip-paint beauty still! (I don't look like that now lol)

Awww! Thank you! The original flip finish was pretty amazing, but when it went back for it's service (after 8 or 9 years active use!) it came back with the new crackled chameleon flip paint finish - and whatever he did it plays and sounds better than ever! My 7 string I think will be next for a service but no need just yet. Still going strong in to it's 10th year. Maybe nearer 11 I forget. Jon is a really nice guy; an understanding engineer who really knows his wood choices. I can't think of a better way to understand more about our basses, so I would recommend the course. Jon is a great teacher. Thing is though, now I know what he is capable of, my next two basses have already been planned... on paper at least!

Jon is an incredible Luthier. He has an attention to detail that is revered amongst his peers. His basses are beautiful and you aren’t alone with the dribbling that’s for sure. The Bass Players United page went in to overdrive when one of Jon’s Fretless Uberhorn basses was posted. Thousands upon thousands of likes and every single comment a positive one. Crazy! Anyway, from experience of lots of Jon’s basses, I’m afraid I have to tell you that you need to follow your heart, otherwise you’ll always wonder if....if.... Shuker is my bass brand of choice.

I suspect you probably know the answer yourself already, but there’s no short cut to hard graft. As a fan of prog and tech metal, the bass parts can be like the guitar parts you’ve described. It’s just a case of breaking up the piece bit by bit, even bar by bar. The very first ‘tricky’ (or what I thought was tricky at the time) bass line was a track called Metropolis Pt2 by some cheeky little prog band. I nearly threw the dodgy transcriptions out the window they were so bad. It took me ages! These days, I will use my DAW software or the likes of Guitar Pro to loop up sections of the song so I can practice them over and over with a virtual band. The loops will start with bars, then sections. Oh and most importantly.... slowly! Guitar Pro for example allows me to pull the tempo back to ensure proper technique in fast passages as well as remaining relaxed instead of tensing up when the tempo goes past 160 in 16ths or whatever. keep looping. You are moving sections of music from your short term memory to long term and I understand that from a psychological angle, repetitive well spent practice will enable this better than just staring at the page hoping it will go in.