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Everything posted by Happy Jack
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Easy songs causing trouble. Is it just me?
Happy Jack replied to SteveXFR's topic in General Discussion
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A very good point ... a pair of 1x10 cabs that can be daisy-chained when you need the extra oomph is a near-ideal solution. The second cab can live in the boot of your car and only brought into the venue if you find you need it. As it happens, for electric bass gigs rather than two identical cabs I take one Trace Elliot ELF 110 and one Trace Elliot ELF 2x8, which offers three different solutions from two uber-light cabs.
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One of the more surprising things that I've learned over my own DB journey is that very expensive, specialist DB amps make far less difference than you'd expect. Yes you can deffo hear the difference yourself, possibly one or two of your bandmates might hear some difference (though they probably won't), and the audience won't give a monkey's ... they're listening with their eyes, "Oooh look, she's playing a double bass, she must be good!". As soon as you get up to any size of gig at all, you'll expect to have PA support and your backline will be essentially there for on-stage monitoring; at that point your >£1000 dedicated DB rig becomes almost irrelevent, except it will make you feel better and perhaps therefore play better. If you're on a tight budget then I would honestly advise going to the Basschat marketplace and buying pretty much any really lightweight head (Trace Elf, Warwick Gnome, MB200, etc etc etc) and pairing that with pretty much any really lightweight 1x10 cab. If you're struggling to keep up with the horns then you just need to crank it up a bit; if that leads to feedback then a lightweight cab with a 'top hat' fitting so you can put it on a speaker pole at head height will usually deal with that very effectively - what you don't want is your backline pointing anywhere near the body of your DB. I always use a Crazy 8 for DB gigs - not cheap but really very effective for my purposes. I've had plenty of AI kit and I love it to bits, still have a really nice, expensive head somewhere, but I haven't used it for several years.
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I'm guessing you're talking about a combo, Sarah? For lighter weight and more flexibility I would always recommend the separate head + cab route. There are now some staggeringly good lightweight 1x10 bass cabs out there. Like everyone else on Basschat I'm a big fan of the Barefaced One10 but I ended up replacing mine with https://www.gak.co.uk/en/trace-elliot-elf-1x10-cab/909654?gclsrc=aw.ds&&gclid=Cj0KCQjwy9-kBhCHARIsAHpBjHi2pxOa039IGjfxLQUL7p3flP41tD2B-L9K1R8gqvQYuzgAcGytWe0aAh_1EALw_wcB Incredibly light, incredibly powerful, very well made. I pair mine with a Trace Elf head but that wouldn't really tick your 'clean sound' box so well. An MB200 or even an MB500 would do that for you, though. The AI Double Shot is an interesting preference ... what would you be playing through it, and at what sort of gigs?
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My digital bass is a keyboard.
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First gig in fifteen years. Any tips?
Happy Jack replied to Jackroadkill's topic in General Discussion
Remember that it's not just the audience auditioning you ... you're auditioning the audience. -
For double bass, I invested in an initial session with @Jake Bass to get the essentials right before haring off in the wrong direction.
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I bought Crash Course In Bass by Basschatter @Stuart Clayton as my 49th birthday present to myself. Blame him.
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Wow! Haven't seen the Hitler argument getting deployed like that for a while. Oustanding work, Sir.
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If a lot of people (probably the very great majority) dislike the too-many-notes approach then there's little to be gained by dismissing it as just "the same old refrain", as if that means it doesn't matter. Just accept that this sort of musical masturbation is very much a minority interest. No judgment call there, it's all music and it's all good in its own way. But gauging popularity has been a fundamental of popular music since the very concept was invented, and this stuff fails that pretty basic test.
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Awesome technique and precision, great time-keeping, etc. but I've never been a fan of "let's see if I can play lots and lots of notes really quickly". Frankly I'd rather hear her take on Mustang Sally. Srsly.
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Often described as "true bypass" and sometimes it is. As Jean-Luc says, there will be a current draw when you have an instrument cable plugged in even if the tuner is not being used, but that draw will be tiny. I'ver used these battery-powered tuners for many years. A single (new) battery will normally last well over a year, even with extensive use. In fact, the battery life is so good that several of these tuner designs incorporate a 9V OUT to allow the battery in the tuner pedal to power another, non-battery pedal such as a fuzz or distortion, using a short fly-lead.
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There's a lot to be said for it ...
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Remic D5401 instrument mic - *SOLD*
Happy Jack replied to Happy Jack's topic in EUBs & Double Basses For Sale
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Welcome aboard, Richard. At £10 you should be able to get your money back just by selling the control knobs. In terms of paying someone to get it working, a beat-up combo can easily become a money pit. Don't go down that road unless you have someone you trust who will give you an honest assessment before you get started.
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Just noticed that no one seems to have answered this. The Phones Out gives a stereo FoH mix with an independent (physical) volume knob as the only real 'control'. I use a stereo jack to 2xmono jack cable to run that output to the XLR inputs on my Zoom H4. That gives me a flawless recording of the band at every gig, while placing the H4 close to the drum kit allows the X/Y mic capsule to record (mainly) that kit, which allows for the fact that the kit will usually be recorded pretty low in the mix from the X18.
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The new REMIC D5401 Studio/Live model has been designed with different measures to fit the upright concerto bass used in orchestras and classical ensembles. The upright concerto bass is typically constructed to have more space between fingerboard and body of the instrument, which requires a REMIC microphone which is slightly taller than the D5400. For studio & live performance of chamber, classical, jazz and folk music. Superior gain before feedback. Moderate suppression of neighbor instruments and ambient noise. For moderate amplification of symphony orchestras, ensembles, bands and soloists.
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UHF Wireless System · With a dynamic handheld transmitter · Directional characteristic: Cardioid · 13 Groups with 16 presets each · 1 User bank with 16 storeable presets · Adjustable squelch with threshold display on the receiver · Frequency scan in the receiver · Adjustable AF output · Adjustable transmission power: 5 mW, 10 mW, 20 mW · Infrared transfer of the settings from the receiver to the transmitter · Pilot tone · Increments of 25 kHz · Installation size: 9.5"/1 U · 2 BNC outputs for antennas · XLR- and jack output · Operates with 12 V, 0.5 A DC power supply (positive polarity (+) inside) · Dynamic handheld transmitter with metal housing · LCD display · Operates with 2 AA batteries or rechargeable batteries · Frequency band: 823 - 832 MHz · Includes a plastic case
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The SubZero SZ-IM2 Stereo In Ear Monitoring System is an easy to use system. Once plugged in the system allows for IR connection, simply hold the receiver near the transmitter and connect with the press of a button. The ability to select multiple frequencies ensures clashes aren't a problem, whilst the clear LCD display provides detailed information about your unit at a glance, which is useful when using multiple systems. Multiple receivers can be used from one transmitter if your ensemble is happy to share a mix. The included belt clip means attaching to garments is easy. System · Channels: 20 (1 groups of 20 channels) · Frequency Range: 863-865MHz · Transmission method: FM, stereo · Frequency response: 30 - 18,000 Hz +3dB · Operating range: 50m · S/N ratio: >85dB · Included accessories: Power supply, 3.5mm TRS minijack to 2x 1/4" TS jack Receiver · Audio output: 3.5mm TRS jack · Indicators: RF (LED) · Operating time: >10 Hours (battery dependent) · Controls: Volume, channel select, sync · Operating voltage: 2x 1.5V AA · Dimensions: 63mm(w) x 127mm(h) x 20mm(d) (excluding clip) · Weight: 96g Transmitter · Signal-to-noise ratio: >85dB · Frequency range: 863-865MHz · Inputs: 4 · Input connectors: 2x combi XLR/TRS Jack, 2x TRS jack I/O · Antenna connector: BNC · Controls: Output level, input level, -12dB pad switch · Operating voltage: DC 12V · Dimensions: 210mm(w) x 53mm(h) x 178mm(d) · Weight:96g
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DBX AFS2 rackmount feedback suppressor - *SOLD*
Happy Jack replied to Happy Jack's topic in Effects For Sale
The first no-fee deal on eBay for ages starts this weekend, so I'm finally listing this there. Giving it a bump, plus some extra info, just in case. In brief, the AFS2 has the ability to detect when feedback begins to occur at any particular frequency, and will insert a sharp notch filter into the signal path at that frequency. As with most devices of this type, it works by assigning either ‘fixed’ filters, which are determined and applied during the setting–up process and remain in place until manually reset, or ‘live’ filters, which are applied automatically during the performance if feedback is detected, without any action necessary on the user’s part. 2-Channel Digital Anti-Feedback Processor Enormously fast suppression of feedback 2 Operating modes Fixed mode with storable filters and presets Live mode for real-time analysis and editing over the complete frequency spectrum Extremely narrow notch filters (up to 1/80 of an octave) for differentiated intervention 24 Programmable filters per channel LED chain for all 24 filters per channel LCD Display Easy setup XLR & Jack input and output per channel USB Port for firmware updates Internal power supply Format: 19 "/ 1 HU -
Lexicon MX200 rackmount FX unit - *SOLD*
Happy Jack replied to Happy Jack's topic in Effects For Sale
The first no-fee deal on eBay for ages starts this weekend, so I'm finally listing this there. Giving it a bump, plus some extra info, just in case. The MX200 features the classic Lexicon reverb sound as well as providing additional effects (32 effect types in all), where two effects can run at the same time under one of four routing options. These may be accessed through very simple front-panel controls or using the MX-Edit editor/librarian software that works within VST or Audio Unit hosts. This way the MX200 is seen by the host software as a plug-in, even though it is really externally connected hardware. General Specifications Audio Inputs (2) 1/4” TRS balanced or unbalanced Input Impedance 20K Ohms (balanced), 10K Ohms (unbalanced) Input Level +4dBu Nominal, +20dBu Maximum Frequency Response 20 Hz - 20kHz, ref. 1kHz +/- 1dB THD+N <.007% 20Hz - 20kHz Audio Outputs (2) 1⁄4” TRS balanced or unbalanced Output Level +20dBu Maximum Dynamic Range >107dB A-weighted A/D Converters 24-bit, 48kHz Audio Processor 24-bit Software WinXP/Mac OSX VST GUI Interface Crosstalk > 80dB Size 1 RU Dimensions Width 19 in (48.26 cm) Height 1.75 in (4.4 cm) Depth 4.75 in (12.065 cm) -
Gator 6U rack-case
Happy Jack posted a topic in Accessories & Other Musically Related Items For Sale
Yup, it's another rack-case, but this time without wheels. Once again, the tape & velcro was originally added for reasons, again it can be easily-enough removed. Not sure what else I can say, really. It's a rack-case. And I won't be posting it. It can be collected either from Harrow/Northolt or from any of my bands' gigs (see my Signature for the link).
