Dan Dare

Thanks Bill. My bad. Should have read more carefully. I'd still high pass subs. I do mine (there will be some LF content below that in them due to the filter slope) to avoid the other issues (I like the dump truck analogy) I mentioned. And I only use one in the vast majority of cases.

Bill's advice is, as usual, excellent, in particular, his recommendation to high pass subs no lower than 80Hz. Most people try to push far too much low frequency energy into a room, with horrible results - one note, booming bass, no definition and masking of higher frequencies. They generally crank the system up in an attempt to overcome this, resulting in more of a sonic mess. Two subs is overkill in most pub venues. I only ever need to use one and frequently roll that off in volume by 3db or more.

This. I appreciate not everyone can afford the gear they really want, but buying the best possible within ones budget is always a smart move. You will enjoy using it more and you will recoup more of your original outlay when the time comes to move it on/upgrade. In the OP's position, I'd be looking for another Eden EX112 to go with the one he has already. They aren't a bad cab by any means and can be had used for a couple of hundred. Two of them would be a lot better than a hacked about old Ashdown.

Ah. Right.

Good luck

Shan't be watching (no telly). The music (so-called) was sh1te, too.

Pretty well anything by Henrik Linder.

JJ started out on upright, so his right hand technique was adapted from that.

Taking a new string up to pitch, down and back up several times helps age it by partially fatiguing the metal. Do it gently, though, or it may break.

There's no law that says you have to play carbon copies of songs. Leave out solos or simplify them. Maybe recruit some keys?

Stage left for me, assuming the drummer is right handed. Makes it easier to maintain eye contact with him - drummers tend to face a little towards the snare/hat. Visually, it doesn't matter. The rhythm section is behind the vocalist, guitar and keys players

I had the same issue - dead spot at the 5th/6th fret on the G - on a P bass. I found the problem was a high fret above the octave. I think it was the 14th. The string was just touching it. It wasn't sufficient to cause a buzz, but it did deaden and prevent it sustaining. So the high fret needn't be the one where the dead spot is. The relief of the neck may mean the string is making contact with a fret away from the troublesome note.

Were you interested in or enthusiastic about what he was trying to teach? Most teachers are more than happy to help anyone who's keen but finding it difficult. It's easy to blame teachers.

I'd ask the engineer which he prefers. He may well want a pre-eq signal, so he can set it up for the PA.

They go for little to nothing. A pal has a couple that he's advertised at silly prices with no interest. He even tried "free if you take it away" with no luck. They're great, but you can get 95% of the sound from something that fits in your pocket.

The best way to deal with those kinds of nerves is to remember you are not the focus of attention. It would be different if you were a soloist, but you are very much in a supporting role and most people will hardly notice what you do. And as others say, you won't be the worst bassist in the building.

One good quality powered sub will be better than two not-so-good ones. You need clarity and not that horrible one note bass boom you get from cheap subs. You don't need stereo low end. It's pointless to have it as lower frequencies are not directional. You can also end up with oddities due to room acoustics if you place two subs apart from each other. Placement of a sub is important, so worth experimenting. You should be able to send a line level signal from your Midas to an active sub (or subs).

The EBS is not heavy in comparison with other old school amps. My old TE probably weighed double what it does. I had a 350 and liked it. It was 2 ohm capable, so when I replaced it, I went with an Aguilar AG700 (which will also run into 2 ohms). I'm happy with the Aguilar, but that's just me. You should really take your EBS to a shop or two and compare it with other amps. You're obviously very happy with it apart from the weight, so don't get rid of it without doing some homework. Perhaps one of those lightweight rack cases (SKB, Gator, etc) might be helpful if you have it in a full-fat flight-case. Would be a lot cheaper than a new amp.

Usually a mixing desk plus cans (DT770s). I can route music through the desk and play along with it. I have an elderly couple living next door and don't want to disturb them.

Every Speakon packet bears an illustration showing connection for the terminals. If a doofus like me can understand it, anyone can.

Speakon cables are very simple to make. No soldering required. All you need is something to cut and strip the cable and a small screwdriver to tighten the terminals.

That's probably why he got zapped a few times by it 😁

I have some whirlwinds that have lasted many years, too. However, I no longer use them as I found they have a high capacitance and definitely lose noticeable amounts of high frequencies. A shame, because they are well made and tough as old boots.

That about sums it up. In my case, I own the PA, so have to break it down, get it all in the car, drive home and unload it all. Can't have a drink as I'm driving, so hanging around listening to people who've had a few talking b*ll*ocks is not my idea of fun. I'd rather get home, put the gear away, put my feet up and open a cold one in the comfort of my hovel.

Single coil pickups? If so, I'd experiment with shielding the pickup cavity. You can get adhesive copper tape that will do the job. Also, check the bridge grounding wire. The ground button on your Zoom is probably an earth lift, so unlikely to help.