Count Bassy

[quote name='thinman' timestamp='1351938095' post='1857031'] Agree - I prefer speakons but it's worth periodically opening them and checking that the screws remain tight - I've had some of mine loosen up as the conductors relax away from the screw with time and vibration. [/quote] And if fitting them yourself make sure that you use the copper ferrule that is supplied with the plug.

[quote name='BassTractor' timestamp='1352144289' post='1859373'] First I must repeat I haven't heard the difference. That said, on a bass I imagine it's hardly for the open B-string, but for strings fretted at the first few frets. The higher the nut, the more tension you create in the string when fretting close to the nut, and the tone frequency goes up. As a result, for perfec intonation, you'd need most compensation on the thinnest string, and least on the thickest. I also seem to remember thinner strings are more prone to this effect in themselves, but please correct me if I'm wrong. If memory serves the theoretical picture is troubled somewhat by string stiffness depending on construction and thickness, in such a way that some strings would not reverberate in their entire length. I think they do not reduce the compensation of nuts for those aspects, and why should they. It'd only interest geeks, and for no practical reason at all, I believe. best, bert [/quote] I played around with a temporary compensated nut, basically being a bit of bent wire slid under the strings thus acting as an angled zero fret. Got to say that the overall effect was impressive. Set up the nut first, based on intonation over the first few frets, then set up the bridge intonation based on the normal harmonic/12th fret thing. - Intonation all up the neck was notably improved. Tried it on a different bass and it had less effect, though still some (perhaps the nut was cut lower?) Didn't proceed with it as a permanent thing because I didn't fancy making permanent mods to the bass, and ideally it would need to be adjustable for different strings/gauges etc. - but as a principle then it seems great.

Just to try and take the view of the other band members: If I were in a band and someone said "we need another set - what do we fancy doing?" , then fine. If someone said "We need another set and here are the 12 we're going to do" my gut reaction would be 'Who the f*** does he think he is'? Sounds like you wanted different things to the rest of the band. None of you are wrong, but they should have said clearly if that's not what they wanted to do. They may not have been lying as such, just not able to fit in what they thought they could.

[color=#A4A4A4][size=3]Posted 03 November 2012 - 02:55 PM[/size][/color] [color=#282828][size=3][b][url="http://basschat.co.uk/index.php?app=forums&module=forums&section=findpost&pid=1852236"][/url]Count Bassy, on 29 October 2012 - 04:56 PM, said:[/b][/size] [size=3]or a compensated nut![/size] No, [i]you[/i] are! [/color] [color=#282828]Damn - I've been rumbled.[/color]

[quote name='oggiesnr' timestamp='1351684582' post='1854090'] A guitarist I played with many years ago always tuned down a semi-tone and then capoed the first fret as standard. He reckoned it gave better intonation up the neck and avoided the need for subtle retuning if he re-capoed further up. Steve [/quote] It probably would help with intonation, effectively being a zero fret, so you don't have that sharpening when going from open string to the first fret.

I would change everything to Speakon if it was me. Far more robust connections, and almost impossible to touch or short out the connections accidentally (and speaker voltages can be enough to make you jump a bit). Jacks originated (AFIK) as telecoms connectors and were never rally designed for speaker type currents. Speakons are. You can get speakons which also take a jack connector if you want to keep your options open.

[color=#A4A4A4][font=helvetica, arial, sans-serif][size=3] Posted Today, 06:37 PM[/size][/font][/color][color=#282828][font=helvetica, arial, sans-serif][size=4] [size=3][b] [url="http://basschat.co.uk/index.php?app=forums&module=forums&section=findpost&pid=1852234"][/url]Count Bassy, on 29 October 2012 - 04:54 PM, said:[/b][/size][size=3] There's a non-sequitur here. There are bands that play the original lines and arrangements but are still crap, and there are brilliant bands that 'do their own thing'. The two classifactions, i.e. Crap/Good and Original/Non-original, are not intrinsically linked.[/size][/size][/font][/color] [quote name='witterth' timestamp='1351535854' post='1852341'] no there isnt, and no there are not. there are however just good bands out there [/quote] Well you obviously disagree with me. That's OK - you're perfectly entitled to be wrong. That's a joke by the way ! Perhaps we've just seen different bands.

With reference to another thread: As far as I can see it's a cover version and they haven't even bothered to learn the original lines very well. - a bunch of 'can't be arsed' lazy toe rags hiding behind the pretence of 'doing it their own way'. Disgusting I call it.

[quote name='andyjingram' timestamp='1351516079' post='1851990'] Measuring scale length as 'nut to 12 fret x 2' is for the simple reason that the saddles are moveable. Any bass with it's intonation set correctly will have each saddle a different distance from the nut. A bass with very high action might have them much further from the nut than one with very low action, or the bass may just not be intonated properly. Bottom line, string lengths for a given scale will not always be the same- the distance of nut to 12th fret ([b]unless you have some [i]serious[/i] bass problems[/b]) will be the same on any bass of a given scale. [/quote] or a compensated nut!

[quote name='Marvin' timestamp='1351527564' post='1852209'] Pah! You don't believe that for a second. You're not trying to tell me you haven't heard a band murdering a song because they're doing in their own way and not wanted to clout them with a nearby piece of furniture for being crap. If you are, you've gone down in my estimation [/quote] There's a non-sequitur here. There are bands that play the original lines and arrangements but are still crap, and there are brilliant bands that 'do their own thing'. The two classifactions, i.e. Crap/Good and Original/Non-original, are not intrinsically linked.

[quote name='Muzz' timestamp='1351329825' post='1850095'] I love the Dingwall multi scale, 34 to 36.25, all in four strings! No problems changing mid-gig to a normal 34", either. [/quote] I wish Dingwall would do, say, a 32 - 34" ish five string.

[quote name='StephenFerguson' timestamp='1351482483' post='1851663'] There is no excuse for owning a headless bass [/quote] -1 - they are extremely practical!, Balance well, do't smash into peoples heads so easily, (and don't get knocked out of tune if they do), and they are easier to shove up the guitarist's arse if he gets too primadonna -ish (though you could argue that you don't want it to be easy for him).

[quote name='witterth' timestamp='1351511038' post='1851866'] "own stamp" or "my version" often means "I cant be arsed" to learn it properly Just a thought (dons tin hat) W [/quote] -1 To which I will add - if you're going to recreate the original in all respects than you might as well put the CD on.

[quote name='Jacqueslemac' timestamp='1351498725' post='1851694'] I was once listening to a band playing Paranoid and noticed the bassist stuck to root notes throughout, not playing a single one of the runs. I asked a few of the people I was with what they thought of the song and they all thought the band played it well. Most people mix what they're hearing with the version that's being replayed on their own heads, I think. [/quote] IMHO most people don't care as long as long as it's done well, and 'done well' does not necessarily mean being true to the original. They are generally there to have a good time, which is generally more to do with the band creating atmosphere and enjoying themselves. And let's face it, except in specific places, what average (non bass playing) punter pays anything more than cursory attention to the bass line?

My scale of choice would be 32", based on one I built myself years ago, which led to a Fender urge MK1s, which is beautiful. However I'm mostly playing 5 string these days, and 32" 5 strings tend to be too expensive for me to justify (given by level and frequency of playing) . 32" just makes everything easier for my little hands. Especially if wanting to fret two notes at once.

[quote name='Bill Fitzmaurice' timestamp='1351010302' post='1846197'] Sir Isaac and myself are in complete agreement. When the cone moves back and forth it alternately pressurizes and de-pressurizes the surrounding air. Said pressurization and de-pressurization causes your eardrums to move back and forth in reaction; that's how we hear. [b]Said pressurization and de-pressurization also causes the floor to move,[/b] [b]how much being a property of the stiffness and mass of the floor[/b]. If the floor was vibrating in reaction to the walls of the speaker vibrating said cabinet walls would have to be moving as far as the cone does. [/quote] I agree with the bit I've put in bold. The bit before that is correct, but a bit patronizing, and the bit after that is wrong. Also, I did say that I wasn't sure how significant the direct inertia affect was, but to deny its existence dismisses three centuries of conventional physics. What I am describing has nothing to do with acoustic energy, other than the fact that any physical vibration is acoustic. If you put a speaker in a completely sealed and completely rigid, effectively sound proof, box, suspended on long strings (or floating on air), Then if you vibrate the speaker within the box the box itself will move. Indeed, remove the cone and replace with a weight of the same mass, so that the acoustic energy output is negligible, and the box will still move by the same amount. This is basic physics at a level far more fundamental than acoustic engineering. Some basic calcs - say the cone assembly weighs 0.5 Kg and moves at 10 M/S, and the rest of the assembly weighs 25 Kg, then that will move at 0.2 M/S in the opposite direction i.e. 0.5 x 10 = 25 * 0.2. In terms of energy distribution between the two: Energy in the cone would be 0.5 x 0.5 x 10 x 10 = 25 Joules Energy in the box would be 0.5 x 25 x 0.2 x 0.2 = 0.5 Joules It's been several decades since I did my physics degree. I've forgotten lots, and much has changed, but I believe that Newtons laws still hold for everyday life. Edited to say "I hope I've got the maths right - otherwise could be very embarrassing"

[quote name='Bill Fitzmaurice' timestamp='1350996408' post='1845970'] Point of fact: Unless the cab is defectively constructed there's no such thing as mechanical coupling. That phenomenon can only occur if the cab walls flex, and the walls of good cabs don't flex. Even relatively flimsy cabs don't vibrate in the lows, they vibrate in the mids. If they vibrated in the lows they'd be unusable. All low frequency vibration of the floor is caused by the acoustic output of the cab. Therefore so-called isolation devices have absolutely no effect on floor or other room surface vibrations. However, if the floor is vibrating said vibrations can then be transferred back to the cab, and the head atop it, and stopping those vibrations can be worthwhile. But doing so doesn't require a high level of sophistication, let alone high cost. A bit of carpet will do the trick. [/quote] I (and I believe Sir Isaac Newton) disagree. Irrespective of the stiffness of the cabinet or whether the sides are vibrating, Newton's laws/conservation of momentum means that if you are moving the speaker cone forward then the rest of the cabinet will to move backwards by an amount inversely proportional to their relative weight of the two parts (i.e. the cone/coil and the rest of the cabinet), so that the net momentum change is zero. This would occur even if it were in a vacuum. On top of this is the fact that you are pushing air with the cone and the equal but opposite force again feeds back into the cabinet. - even if the cabinet is completely stiff. These forces and any consequent movement will be transferred into the supporting mechanism whether that is the floor or the isolating pad. How significant these are I have no idea, but they will be there.

[quote name='crez5150' timestamp='1350470307' post='1839183'] Hi Marcus I'm with you on these... I've found them to be the perfect bass for me.... The sound is absolutely there in terms of punch, growl and clarity. Obviously if you play a lot of Slap (as I do) then they seem to come into there own. I've owned three Kingbass now and have finally settled on a Graphite 5 string artist model. It's the perfect bass as far as I can find... I had an S2 in the past also which was a superb instrument but it never really hung right around me. Prior to Status I played Warwick Thumb 5 string through neck and while this was a great bass, I found the Status blew it away in terms of clarity and tone. Also the weight factor was hugely different. For me the design of a small compact body with a headless neck works extremely well for a gigging instrument. As for the comments above regarding hot output.... well yes they do have a hotter than average output but you can adjust this on the pre-amp board quite easily yourself. Or use the Volume control on the bass Here's a piccy of mine [/quote] Yep, that's a bass that ticks all the boxes for me. Unfortunately with my frequency and standard of playing I'll never be able to justify one.

[quote name='BigRedX' timestamp='1350907097' post='1844833'] I hope we're talking metres rather than feet for these sizes otherwise they seem a bit on the small side. The last time I was in a band with backdrops we had two approximately 3m x 2m and needed both of them at all but the smallest pub venues. [/quote] Actually I find that the 2 x 8 feet banner works really well. At that size, and in a typical pub/small club type venue, the top can be just below ceiling height, and the bottom is well clear of the drummers head. - so it doesn't get in the way on a small stage- and it rolls up to about the size of a small sleeping bag. Anything much deeper and it starts to get lost behind the back line and band members (ooer missus!). All IMHO of course.

[quote name='JapanAxe' timestamp='1350851380' post='1844343'] Banners are frequently a pain when it comes to finding somewhere to secure them - many happy hours balanced on top of speaker cabs and drum stools... [/quote] Microphone stands are your friend! - My lads band have a banner about 8 x 2 and a couple of boom mic stands adjusted to max height are just right. - and the pole through the top sits nicely in the mic clips.

I have an SR505 ( ab it of a funk machine by nature) which had rounds on it when I got it. I was constantly playing with the treble right down to try and tame it, which left now room for manoeuvre. Changed to status hotwire half flats and I now like the tone with everything flat, which gives me room to modify the tone either way for venue or the song as required.

[quote name='thebrig' timestamp='1350208604' post='1835711'] The only reason I ask is because just recently, I was offered a place in a band that is gigging at least twice a week, occasionally three times a week, and I would have been taking about £150 - £250 in my hand every week, that's around £7,800 - £13,000 per annum, and the first thing that struck me was that I will have to declare that amount of extra income. [/quote] But you could also claim any related expenses, and almost anything musical against that income. Obviously petrol/mileage, strings, rehearsal room costs, stage clothes, depreciation on capital costs (i.e. you're bass & rig, PC you use for musical things). Anything musical would also extend to CDs. If you practice at home could possibly claim for 'use of home as office' I have a friend who was was shopped (we think) to HMRC about his playing in a ceilidh band. After HMRC interviewed him and did some quick sums they told him that he had a very expensive hobby. On the original question raised, for myself, if it is a choice between playing for nothing or not playing at all then I'd play for nothing. It is a hobby after all, which I do for fun, and the whole aim is to get out and perform. Musicians are one of the professions where they try to make a living doing what other people do for a hobby. No point moaning about it .."Twas ever thus and ever thus will be".

[quote name='Big_Stu' timestamp='1349550124' post='1827703'] It's nearly as bad as doing a Hiwatt search and seeing ads for amp covers of all sizes (even if they are excellent) and cheap crap batteries of the same name. [/quote] So search "Hiwatt Bass -cover"

Not only is it not 1/4", it's not an input jack either!!

[quote name='paul_5' timestamp='1349072769' post='1821260'] Cool, my boys have got the exact same drum kit. They're not famous though. [/quote] You should always follow that line with "yet!"