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Jack

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Everything posted by Jack

  1. Jack
    Perhaps I shouldn't have paraphrased, I know what I meant when I said 'transparent' but I appreciate it could have been taken either way. I had asked specifically about controllable DSP like on the QSC K.2 series, where clearly the RCF boxed have no control over any DSP or internal anything. If anyone hasn't used the RCF boxes (we have 2x 712s and a 705, with 2 old 702s as well) they're just an XLR input and a volume control. The response I got was: (emphasis mine to correct my confusion)
  2. Jack
    Zoom and COG sold, Line 6 and MXR added, new photos.
  3. Jack
    RCF emailed back saying that their internal DSP is purely for limiting and basically 'speaker protection' reasons, the only thing that effects the sound within th speaker's design parameters is the crossover. Apart from that it's all designed to be transparent. There's no chance of me running the band PA system (I did a few times with my Barefaced cabs just for the craic) as we're well-catered for in that regard. I'm leaning towards the QSCs at this point, as I don't really need that much volume at all and I'm fairly sure that either option will be more than loud enough. Having the pair of the QSCs means I can use just one reasonably small cab most of the time and not have to cart the huge 745 around to every show. Interesting. It's just their DSP112 cab that they've had there for ages though. New badge. FWIW I've had really, really good experiences with loads of their own-brand stuff.
  4. Jack
    I have often thought that this may be the reason for a lot of the Ashdown digging around here. It's objectively true that over 50% of the Ashdown amps that I have used have been useless, rubbish, pieces of carp. Of course, that's not how those amps left the factory at all and you can't blame Ashdown for what happens after. I've been beaten around and abused my many people too, and I don't look as good or work as well as I did when I was new either.
  5. Jack
    So, perhaps this isn't the ideal to be spending cash frivolously, so why not spend it on something really important instead? Like pedals. These are here because I went from using pedals, to a helix, to pedals again, and now back to Helix. I'll buy them all back again in 6 months. Prices are based on previous items on here and ebay (minus a bit for ebay nonsense) but if you want to make an offer then by all means try me. I'm about 15 minutes North-West of Newcastle if anyone wants to collect (not likely at the moment!) in which case you can knock £5 off the price as you'll have to accept the indignity of having the pedal thrown at you from an upstairs window. Otherwise, postage is included. SOLD Tech 21 Sansamp Paradriver V2 - £150 Best sounding analogue pedal preamp I've ever used. This is the version 2 which has more control over output levels and less of a mid scoop than version 1. Great condition (aside from velcro) and it's in its tin. Line 6 G55 - £150 This is the G50 but in an enclosure that can be rackmounted if you want. Of course, it works perfectly fine on top of your amp or on a (big) pedalboard too. Very good condition and comes with the power supply, rack ears and box. Line 6 XD-V30 receiver - £40 This is an amp-top receiver that will work with the Line 6G30, G50, and G55 as well as several of the microphone models. I really bought into the Line 6 wireless architecture and there was a time I had the G55 in the rack, the G50 on a board and this spare in the gig bag to use with house amps. MXR Sugar Drive - £75 I bought this about 3 weeks ago and it's just outside of the return period. This has been on my board but, due to the apocalypse, never actually used. I love the Klon and this is my favourite Klone. Small, high quality, no extras, with a switchable buffer. Comes with box, psu, manual, stickers, everything. SOLD (multiple times over!, who knew these were so popular??) Zoom MS60B - £45 Awesome digital multi effect and amp modeller. It can be your entire rig or it can be your 'everything else' pedal for when you don't really need a whole separate pedal octaver or a synth for one section of one song. Velcro. Box. SOLD COG Knightfall V1 - £50 Once the darling child of bass overdrive. Now perhaps superceded by the emporer's newest clothes but unlike buying an old Rolls Royce this isn't worn out and won't depreciate further. Comes in a box. Condition? Who can tell? They were designed to look scratched! It looks the same as when it left COG, there's no NEW marks or scratches, that's for sure. Wee Lush Effects Buffer Boy + - £20 I had my formative internet experiences using a dial up connection and so like most millennials I have developed a liking for women who look pixelated. But playing bass isn't the same as watching adult movies, in some cases buffering might be exactly what you want. 1590A buffer. Transparent, gorgeous, buffery. SOLD Korg Pitchblack Custom BLUE - £35 It's a pitchblack custom, right? So it tunes your bass pretty much better than anything else. You with me? And, right? And, it's BLUE. Korg Pitchblack Pro Rack Tuner - £60 This is a Pitchblack Custom but it's 19" long and visible across a massive stage. You know what else is 19" long and visible across a stage, ladies and gentlemen? 😉 .......my guitarist's mullet.... 😞 Comes with psu. SOLD Pedaltrain Spark - £90 Awesome pedalboard power supply that's designed by Pedaltrain specifically for their boards. Of course, it'll work on any board. Comes with cables and the neat and tidy mounting brackets in the box. 2x500mA and 3x100mA that are all individually isolated. Fender MGT-4 - £25 This is the footswitch from lots of Fender amps, particularly for us it's the one that comes with the Rumble Studio 40 and Stage 800. I bought my Stage 800 and used one footswitch on gigs (which I sold with the amp) and bought another one to keep in my office so I didn't have to keep unpacking my gig bag. This is the office one so it's never left the house. SOLD Rolls MP-13 - £30 Unusual little mic preamp. This is a DI box that takes either a 1/8" or an XLR and converts to balanced TRS and XLR at a range of outputs from below mic lever to a really huge line level. Also provides phantom power downstream. Fantastic for giving FRFR cabinets or PA power amps enough juice to work properly and overcome any input sensitivity issues or to do something like DI an ipod into a PA or any number of other things. I've used it to help my Helix properly drive my Barefaced FR800s and since selling that gear I've had it velcroed inside our PA rack to prive Runs on anywhere from 5V-24V on either polarity, this obviously includes the Boss pedalboard 9V standard.
  6. Jack
    90% of backline around here (live venue or rehearsal room) is either an Ashdown or a TC Electronic. Both of which are fine by me to be honest. There's a rock club in town that used to have 3 Marshall half stacks, 2 DSL100s and one VBA, all with 4x12s, that was a good one. I assume somebody went into a music shop and asked for 3 amps for a band and the salesman took advantage. Under new management now and the backline is gone.
  7. Jack
    To save time you could offer to take the bass to a local luthier and agree that they'll pay? If you have to ship the bass back now you probably won't get it or a new one back until after the apocalypse.
  8. Jack
    I'm the kind of person that'll geek out over the details and in the past six months or so I've taken to scoping pretty much every piece of gear I've got. I do totally understand why one would keep specifics like that close to one's chest. Not only would it hinder people copying or cloning but often specs hinder rather than help. You need only only look at amps and their power ratings.
  9. Jack
    Well the center point does yes, so obviously if the center is set below 45Hz then it will affect the LPF but don't forget that it will also affect frequencies to either side of the center. Tech 21 don't seem to quote the q, which is the width of the filter, but let's take a look. Here's a 10dB boost at 143Hz but you can see that even there it's having a slight affect on 45Hz (the pale blue '1' line). This is with a q of 2, which is half an octave. So here's a 45Hz high pass filter. With another eq boost miles away at 1200Hz they aren't affecting each other. But move that same boost down to the 40Hz that your Qstrip is capable of and you can see how that's massively affected the filter. It is the same 45Hz high pass filter but if I had to eyeball guess I'd say the new -3dB point is about 33Hz. Of course, we don't know how wide the Q is on the Q strip. Choice of filter width is what separates a semi-parametric eq like the q-strip from a fully-parametric eq. The q-strip is fixed (as there's no bandwith control) but we don't know what it's fixed at. it may actually vary depending on where the other controls are set. Generally in eqing we want narrow cuts to get rid of unwanted boom or feedback and broad boosts to add in things we want more of, but this is just a huge generalisation. All of this has been done assuming a q of 2, what happens if we widen that? If your q-strip has a q of 0.5 on the mid controls then we can move that control all the way up to 150Hz or so and it's still BOOSTING at 45Hz, despite the hpf. It's even having a tiny effect at 863Hz! I know I'm not making this simpler, but that's because it's not simple. Tech21 were right, twiddle until it sounds good.
  10. Jack
    Filters are described by their 3dB point. Even though it's mechanically doing the same thing, you can move the 3dB point by feeding it more or less 45Hz using the shelving bass control.
  11. Jack
    Was on hold, now not on hold so back open! I've had some trade offers but nothing that quite tickled my particular pickle. Please do keep them coming.
  12. Jack
    No, the hpf is fixed but all eq is cumulative. Lets say you were to have an amp with a treble control which is 5kHz and up shelving, and also a presence control which is 7KHz shelving. If you turn both up 5dB then they add right, so you've got +5dB from 5KHz to 7KHz and then a total of +10dB from 7KHz up. You could also turn the treble up +5dB and the presence DOWN *7dB. That way you've got a hump of +5dB from 5 to 7KHz and then after 7KHz you're back to 'flat'. You can do whatever you want with the eq, and a lot of the controls will affect other controls. The HPF is no different and can be affected with the bass eq (if it's shelving) or a parametric band if that will go low enough.
  13. Jack
    All filters work that way. You can affect the -3dB point by using a shelving control. Here's a post with Charlie doing the opposite, boosting the bass and leaving it there whilst changing the hpf control, but of course the opposite to that opposite (which is what you're talking about) would also occur. If you have a fixed high pass filter that's say -3dB at 100Hz then a flat shelving boost in the bass of +5dB would move all of that curve up and now your -3dB point would be something like 80Hz or so.
  14. Jack
    Some new photos. The weight is 3999g, which if you're old is about 8.8lbs. The ever-reliable internet tells me that this is slightly above average for a 4 HH but it certainly doesn't feel heavy.
  15. Jack
    If we're doing mic recommendations then I've converted 4 people to the Prodipe TT1 Pro Lanen now. £35 or so and they're outstanding. Having said that, I might be tempted by that AKG D5 above...
  16. Jack
    The TX is Alto's cheaper line.
  17. Jack
    FWIW I'm in two bands, one with 2x RCF 312 tops plus a single 705 sub and the other with 2 Alto TS115 tops and 2 TSsub18 subs. The RCFs are quite clearly better in many ways, but the Altos are no slouch, punch well above their weight and sound just fine. It's like on here when people talk how an MIA Jazz is so much better than a MIM one. True, but the MIM works just fine. Alto make some great stuff and adding adequate subs to your system will help a great deal with achieving what you want.
  18. Jack
    I'm not really sure that you can do better than your two Altos for £600 total. Could you sell the Altos for the same £300 or so ad have a £900 budget? 'Cos there are a pair of RCF HD12 on here and ebay for £900, and that would be HUGE upgrade. Ok, ok, now I'm that guy that you mentioned! Sorry. Long story short, if you want to go louder in roughly the same size and weight you will be needing more money. If you CAN get a sub, then the above suggestion would work.
  19. Jack
    Adult teacher. Looking for a change though as the charity and education sector is looking pretty shaky right now. Anyone near Newcastle looking for a professional ultracrepidarian? 😁
  20. Jack
    Perhaps a silly question but when you used the Cioks were the two pedals on seperate outputs? As in, were they definitely isolated from each other? Because if you had them on a daisy chain from the same ouput then they may be on an isolated psu but they wouldn't be isolated from each other.
  21. Jack
    I can tell you that the very first thing you need to do is get rid of those speaker-level XLR outputs. Even if you just tape over them. You know what they're for and that'll be fine. But one day you'll walk up on stage to find an irate soundguy who patched in there without looking and let the magic smoke out of something. Oh, and it's an amazing amp. I remember the one on the back of a bass magazine that came with the matching 4x10 and 1x15 cabinet. As a 15 year old boy I preferred it to that month's issue of Nuts.
  22. Jack
    Thanks for all the suggestions guys. I may revisit this thread if my new plan A doesn't pan out, but I had a eureka moment a few days ago and picked up a used MS-60B on here. That should cover the occasional 1-or-2-song-effects and leave plenty of room for the important stuff as well.
  23. Jack
    IME, as long as you stay away from the really small, really cheap stuff such as Ebay brands you've never heard of or teeeeeny litle 10W, 8" speaker things then there really aren't many bad amps at all these days. More specific than that? Ok then. If you're into all the digital modelling stuff (perhaps not based on the guitar gear you've listed) then the Fender Studio 25 would be great. I own the bigger brother and they're cracking little amps. If you've got simpler tastes in amps then my two favorite ever have been the GK MBE150 and the TC BG-208. Do you have the space for an Ampeg B100R? They're outstanding.
  24. Jack
    We're headlining (read: getting paid the same as everyone else but also providing the PA) at a big mod and indie event in a few weeks. The other two bands have sent their stage plots through and so I've already made scenes with named channel lists and input plans. Whilst I'm also wary of presets I've been able to do a few basic things like take an educated guess on HPF for the vocal channels and route certain things into certain effects as well. All from my armchair, 3 weeks before a gig. This is the future.
  25. Jack
    I think there's a female vocal preset here.
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