krispn

Well my build won’t cost upwards of £3000 but yes the switching is Dingwall inspired the similarities however end there 😀

Nice. I was thinking four way rotary bridge, both series, both parallel, neck. All housed on a PJ style three hole plate and maybe move the jack plug a la a PJ!

Just add this to the first post and it’ll save folks a heap of time🙂

That’s Internet forums summed up beautifully! Now wait for the pedant to tell me forum is Latin and the plural..... Ahhh the Internet 🤗

So I’ve decided while many folks are on the abstinence tip for 2020 I’m gonna do a Reverse Double P build. I’m not sure if it sounds like a skateboarding move or a sub-genre of porn but I’ll persevere with an internet search soon just not on the work pc! Im just wondering would it make sense to have a higher out put bridge position p and more traditional output in the classic position a la pj config or two similar matched pick ups in terms of output. I’ve got three pick ups I’m gonna choose from, two more vintage and a higher output one. Two will go into the Double and the third back into my other standard (now a reverse) p. Look forward to your collective insight especially current double p users.

Using ‘arrogant’ perhaps triggered me a little and I certainly wasn’t suggesting that it can be learned in 5 minutes. I simply agree with 51m0n - learning a few basic concepts doesn’t take a lifetime and we become ‘better’ band members if we can help problem solve sound issues on a gig. I don’t see how ‘sound management’ and it’s basic concepts would be any more of a struggle to employ than many other concepts. A couple of wee cheat sheets or spread sheets in the gig bag and we’re half way there! I’ve attached two of mine below and the singer/volume guy has one I’ve done out for the basics of Eq’ing the kit. Yes I did laminate my little feedback helper chart but it comes to every gig. The fiddle one ....well a picture of that on the phone is plenty😀

An element of arrogance to want to equip oneself to help the band problem solve sound issues which, if left unresolved, will make the gig less enjoyable for everyone in the room irrespective of how engaging a singer is or how tight the groove? An element of arrogance in trying to offer help to a band mate who's talked himself into a corner and is standing at a desk twisting knobs, sweating like bastard all the while making the issue worse? The difficulty with sound management/engineering, especially in a proper live environment, is few of us have access to a live gigging band, venue and a desk on a whim. 'Practicing' sound and mixing becomes the realm of 'mixing stems' mucking about with home recording etc to try and gain a basic grasp so when we do have to manage these issues we can do our best. It's reasonable to expect I wont become expert (10,000 hours - I just don't have the spare these days) but we can become competent or apply some good solid principle to manage ourselves. Example: I never knew anything about eq'ing a fiddle until we had a fiddle player join the band. I did know a bit about eq, some frequencies and how to mitigate feedback. When we got a fiddle player I read up, re-read the manual for our desk and the sound tips it gave, started following producers on line etc. I'm a competent bass player in that I can learn a song, follow a kick drum pattern and throw the thumb into the bass if needed but I'll never set the world alight. I'm no sound engineer but I've been gigging and rehearsing since I was 16 and in that time I've learned a bit from listening, asking questions, watching proper sound men, 'doing the sound'. I recall a local festival and spending about a week offering to help with set up of the stage, doing messages and being the dogsbody - basically hanging about the desk and learning from the lads, asking questions, helping wrap cables (after I was shown the correct way to do so) etc. I've been playing and gigging on and off since then and 'done the sound' at a number of rehearsals for my own bands and my friends bands. Later on I was in a band with folks who had music degree's and one a masters in music and sound design (learned a helluva lot in that band -I recall we were recording some guitar parts and I showed up to the rehearsal room and the guitarist had two different 212 guitar amps mic'd with four different mic's - two different pair's per amp to record the rhythm guitar parts! I learned A LOT in those few years both in recording and a lilte bit of mixing!). I wouldn't say I'm arrogant but I've just got a little experience over the last 25-ish years.

As 51m0n is recognised as a patient and generous man with his devotion to discussing compression maybe we should heed his advice on this one

Let the fun continue...

That's for the inevitable "What makes a band enjoyable to listen to thread" not Live band compress bass ... but the points are valid for an enjoyable night out - the decent lighting feels like some has recently bought a party bar but otherwise

It's like saying a band doesn't need to know how to eq. An experience I had a while back... Having had an onstage dispute with our singer/soundman (his claim not mine) on how to mitigate feedback from the fiddle one look at the desk and his eq'ing of said fiddle proved he didn't have a clue. He was boosting lows to give the fiddle more low end oomph (a fiddle doesn't produce lows below 200Hz ish etc - from that day I have described him as a volume man not a sound man - he understands how to make instruments heard but beyond that....clueless. Now when he finally was agreeable to taking another opinion and advice we managed to fix the issue and since he's been open to advice on eq'ing drums etc (less is more, cut first before boosting and some general frequencies to use as a basic starting point for each instrument) and we've had little to no issues since and those we have have been quickly sorted. Compression doesn't have to dialed down to the 'nth degree' on every source but some basic understanding and judicious use where needed, rather than plastered all over every instrument, will not hinder a band. Not every band will need or value it or have facility to use it but it's another live tool should one feel comfortable employing it. It's not too long ago a fellow BC'er disregarded HPF'ing as being pointless and the band complained it took away all the bottom end to that person nearly custom ordering a HPF from a well known UK pedal builder! Once we have a better understanding and application of an effect or tool we're better able to decide if it's needed. Most of us lack the luxury of a long and involved sound check or a sound engineer but if we all understand how to mange our own instruments sonic space thats no bad thing be that volume, eq or dynamics.

I'd echo what @51m0n is saying - it's not until you start getting into mixing, something I'm still at a very early learning stage of, but I've really enjoyed messing about with compressing drums and just playing around with using various mic's etc to get the sound - using compression to get 'that' snare sound or messing with the whole kit using eq and comp. I think compression makes a bit more sense overall when mixing and in isolation it can sometimes seem a bit redundant - unless you're after a really specific sound - squished country guitar or on a drum mix. I'll be the first to admit I'm a total novice but having access to stems from a host of various online tutorial sites has been great fun.

Just a thought you could use the inlay dots as the metering lights... I’ve gone too far!

Dingwall Super P and J both have the 35” scale and aren’t as ‘clinical’ as some of the other models. The necks on the Super’s feel great so if Ibanez can match that good on them.

Can we appeal to the mods better nature to close this thread now before 51m0n has a melt down

“Ooh Suits you sir!’

Let’s face it compression live is like wearing a belt with your trousers. Generally most folks don’t need a belt, trousers on their own work just fine but some of us like to feel everthing just tightened up a little, be it a security thing or you just feel better in a belt. Will anyone know you’re wearing one or will anyone really care. That’s unlikely! Now if the soundman is the tailor he’s always gonna recommend a belt. “Yes yes sir you might not feel the need but trust me sir It’ll tie the whole look together!” Now some tailors might suggest braces but generally they’re overkill unless you want the effect too.

I should add that when discussing the Mo West designed Alien Audio on board pre and it’s standalone Tidal Wave pedal version of the EQ Chopper does mention that he thinks there’s compression going on within the circuit. I’ve not seen nor could I easily read a schematic but it might be worth a look if you were seeking a pre which had built in comp.

It might get a bit confusing what with all the controls. One could be looking at at least 4 or 5 stacked pots, maybe push/pull pots too and switches especially if combined with an active circuit. I know some folk can struggle getting to grips with the most basic of active/passive set ups and this would be quite daunting for some! It could all get very confusing and as identified above no one really needs a compressor. The other question is do you think you’d have gravitated towards an instrument with these features? I know of one brand of on board eq which features a drive which seems like an easier to execute/more useful feature for the masses but that’s for another thread!

I was just about to say the same thing!

Dua Lipa - Don't Start Now - grooves along nicely Attention - Charlie Puth - also grooves nicely Sigala/Beck Hill Wish You Well - might need to be a bit guitar heavy but easy to do the quiet/loud thing on verse chorusI'd say there's rock or 'versions' of these on line. Wrecking Ball - Smiley Virus Also check out future idiots for many's a rock cover of pop hits We tend to pick a song we like and rework it to fit in with our line up/instrumentation.

It’s not Birdseye those are freckles! It’s all the rage for 2K20!

You'll have to give us an update of how the cab performs live