rmorris

[quote name='Mornats' timestamp='1376935535' post='2181200'] I got mine for a bargainous £30 in a deal last year. It does a nice tube growl if you use the B15r head. It's tricky to get the levels right without distorting the sound if you use an active bass though. [/quote] Don't you simply adjust the level down in the soundcard or DAW mixer software or somewhere before going into the plug in ?

[quote name='BigRedX' timestamp='1377428193' post='2187312'] Trying to fix a time domain problem using a non-time domain solution is never going to be very reliable. In the long term (especially if you want to do anything serious recording-wise with this set up) you are going to need to position your speakers more sensibly where they are less affected by the room. [/quote] Agreed. EQing one speaker differently is likely to throw problems into other areas. But assuming that a better speaker placement may not be practicable ( I have a similar issue though maybe not as pronounced ) then a way to go might be to place sound absorbing acoustic material behind the speakers and on the relevant wall. Basically aimimg to take the wall reflections out of the equation by getting rid of them. Unfortunately this becomes more difficult the lower the frequency as more mass is needed but it may still be the best way to go. But I've just seen in the pic that the monitors have a rear port ? I'd try loosely blocking that up as an easy first step - using cotton wool or similar. Thoughts ???

[quote name='SPHDS' timestamp='1375827629' post='2166320'] Righteo, cheers for the ideas! Missed out on a MXR earlier (forgot what time it ended.....D'oh!), so back to keeping on looking.....! What are the opinions on any of these, as there seem to be a few on the 'bay....! (and how do they compare to the Boss, which I know seems to be seen as King....!) 1) Arion SFL-1 2) Behringer (various - HF300/SF400/FL600) 3) Danelectro FAB Flange 4) NUX Flanger Core [/quote] The Arion is good. But it might help to say what sounds /examples you are thinking of. Also have a listen to the CHORD flanger pedal.

[quote name='Jus Lukin' timestamp='1377182162' post='2184450'] I was keeping an eye out for the same thing a while back, to fill the gap where my wireless used to sit! I can't be much help, but for the fact that it was hard to find anything with the right output to run straight into an amp- at least not for reasonable money, anyway. Things may well have changed since I last looked, so I'll be watching this thread too. [/quote] By the right output to run into an amp do you mean simply the output level being too high as it is at nominal line level ? If so can you not just turn down the output /make up gain ?

Tape them off unless ultra tight for space. Heatshrink would be good if you can get a heat gun to use.

[quote name='PauBass' timestamp='1376406048' post='2173476'] I asked this on the recommended luthiers thread but no replies so far so I'll try starting a new thread [color=#282828][font=helvetica, arial, sans-serif]My '66 Fender Jazz bass could do with a fret-dress.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I'm in the Brighton area, any suggestions who best to take it to? (I know Bernie Goodfellow but not for me this time)[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Any feedback on Graham Wheeler in Worthing?[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Any other good luthiers in the area, please? [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Thanks![/font][/color] [/quote] Just out of interest and as I am in Brighton - why not Bernie Goodfellow this time ?

I don't have a Jubilee head but I do have the Jubilee 4x10 cab. Can't remember the speakers in it but sounds good.

Bit late to this but agreeing wit the gist of the thread. Cable around 1sq mm is plenty. In cable spec terms that's equivalent to 18 AWG or 32/0.2 cable ( ie 32 strands of 0.2 mm diameter wire ). It's also available in other strand / diameter configurations but 32/0.2 is readily available and offers good flexibility. Larger diameters do no harm but if using solder ( as opposed to push on tag etc ) connections you need to be sure soldering iron is nice and hot enough to ensure a good joint as more copper draws more heat away from the joint itself meaning the joint can become a weak point. And as mentioned it's a good idea to fix the cables.

[quote name='iiipopes' timestamp='1370440548' post='2100879'] Another thing you might try is to reinsert the bushings for the larger tuners and see if that brings the inside diameter down to the point the new bushings will fit inside them. That's what I did when changing out the old "elephant ear" tuners on my bass for Hipshot Ultralights: I just kept the old bushings on the headstock and installed the Ultralights in them. This saved me much time, energy and consternation. [/quote] That sounds a much better approach to me. Much less hassle and less to go wrong compared to glueing etc. But I wondering if you could simply get complete tuners with the correct dimensions ?

[quote name='KingBollock' timestamp='1371039940' post='2108952'] The idea for the twin switched batteries was in case I ended up with a preamp that could run at either 9v or 18v for extra boost. Being able to switch to parallel allows both batteries to drain at the same rate while still producing [/quote] It's not really a good idea to simply put two batteries in parallel . Two batteries won't be exactly the same and the extra circuitry required to get proper current sharing isn't worth the bother.

Yeah - Blue leds have been flavour of the month for a few years now it seems. I have one on a mic and it is way too bright. I tried masking tape over it. Now have untidy looking microphone with a blue light that is still too bright !

btw - before somebody points it out - yes some mixing desk line stages do attenuate a line signal before feeding it to the same differential amp as the mic input. But that is something of a design compromise - it's cheaper of course.

[quote name='JoshOmachine' timestamp='1364810273' post='2031025'] Why would the DI be giving a line level? Also traditionally you should be attenuating at the source so that the mixing desk 'sees' a level that is as close to +4db (u/v/m). That way it can be processed by the desk/effects/outboard without the need for any further gain structures until the point it is sent to the sound reinforcement (loud speakers/amps etc) for the reasons you gave. Obviously gain structures do appear but the idea is to eliminate as many as possible. [/quote] Some level clarifications needed i think. Out of necessity these are generalisations but : A mic level is relatively tiny. The level from a passive bass / guitar is a fair bit higher than a mic signal but a fair bit less than professional audio line level (well established at +4dBu). Now if you have active gain available in the DI box then why would you choose to attenuate that to mic level just so you have to boost it back up with the mic preamp in the desk with the inevitable added noise. So you'd probably choose to either put it out at unity gain and lift it to line level in the desk input gain stage or boost it to 'proper line level' at +4dBu so that the desk can take it at unity gain. In general a you'd choose to get it to the 'correct' level as early as possible in the signal chain ie the DI box although it might depend on the detailed design of the DI and mixer input stage. As for 'attenuating at the source...+4dB' - that implies that you have a signal larger than +4dBu to start with ??? That's only likely to be the case if you are taking a speaker feed into the DI. [quote] dB(u/v/m) are all relative levels as they are all relative to ground hence partly the need for that 3rd ground wire. The reason the figure 20dB often used for attenuating pads is that it is 4 times less the perceived volume of the signal and that it is roughly half the voltage of the signal, which is the important bit for the desk. The only 'defined' dB rating commonly used is dBspl or decibels over sound pressure levels which is the calibrated measure used to denote a loud speakers sound reinforcement capabilities. Or for licensing venues/events an agreed volume at a certain distance. [/quote] No. A dB figure is a relative figure. But dBu and dBv (and for that matter dBV) figures define an absolute voltage level. 0dBu is defined as 0.775Vrms ( giving +4dBu = 1.23Vrms). and dBu levels are used everywhere when quoting analogue levels in audio equipment , especially pro audio mixing desks etc. dBm is actually a power level but is generally not applicable in modern audio systems although sometimes still seen quoted. All this has absolutely nothing to do with the '3rd ground wire'. It's simply a level measurement and is valid for all wiring configurations - balance / unbalanced / floating etc... 20dB isn't 'half the voltage' . That would be 6dB ( dB = 20log(V1/V2).

[quote name='icastle' timestamp='1364239305' post='2023715'] Now that's one that I have encountered in the past. Another one was those green LED calculators - go anywhere near an amp with one of those and all hell lets loose. [/quote] yeah - wel just hang a guitar pickup around the front of an average PC ! The problem always used to be CRT monitors but they are rare now. Light Dimmers are another nuisance and I once tracked a periodic blip down to a DVD player a good few rooms away in a friends house ( CE regs ?) The watch thing strikes me as a particular issue thoufgh as it's going to be on the player's wrist :-! Getting away from the staic issue I know but it's all annoying...

[quote name='V4lve' timestamp='1363942947' post='2019756'] Wierd. I took the shielding off the back of the guard and it seems a whole load better. [/quote] That sounds like the shielding wasn't connected to 'Ground / 0V' or the connection wasn't 'solid' enough. 'Continuity' as tested with a meter is not always enough as the connection can have a significant inductive impedance (esp a round wire connection - flat braid is better). And whilst Copper tape might be more fiddly to work with than the 'black conductive spray' often seen , the Copper is always better. If the 'shielding' is 'floating' then it could make things worse by acting as a 'transmitter' for the interference. 'Floating' shields can be worse than having none at all ! I know this is a bit a bit 'hand waving' but it's not a simple area ! ( if you're wondering - yes this sort of thing is part of what I do for a living :-)