flyfisher

What's the problem - you're not actually going to play IN the rain are you? That would raise more important questions for me than which bass might get wet.

[quote name='geoffbyrne' timestamp='1379943926' post='2218505'] I went to see a band in a pub not far from here a few months ago. It was the kind of place where you'd get about 200 folk into if you pushed them hard - think Tokyo Underground..... Anyway, the said band miked up the drums & put the bass drum up so high that every time the drummer hit it, my seat literally rose up. There were about 60 people in that night. Didn't stay long. It was painful. Quite a few others said the same. [/quote] I've been to a few of those (but not for long). What IS the point?

I might be interested in the wedge monitors if you do.

I agree with AT above. Annoying though such things undoubtedly are, it's important to keep a sense of perspective. How much money are we talking about to replace or re-cone the speaker? Is that really going to be worth the additional expense of getting your own expert to examine the speaker, which I reckon would be essential if you're going to fight your corner, and then possibly pursue a county court action? Even then there would be no guarantee of success. At this stage, I think I would talk to them about their assessment of the damage, explain exactly how you have been using it (amp, settings, instrument etc) and ask if that set up could reasonably be expected to cause such damage. Their answer would be useful information in terms of deciding whether to pursue a repair or a like-for-like replacement, because what's the point if the same thing is likely to happen again? If it really is the use that has caused the problem then you'd want to understand how to avoid it again anyway, so it'll be a useful discussion anyway.

A suspended floor is a good idea but use pressure-treated timber and drill holes or insert airbricks (on two sides if possible) to ensure good airflow underneath, as HJ mentioned. Exterior grade (WBP) plywood is cheaper than full marine-grade ply and should be just as good in an indoor application with good underfloor ventilation.

I've bought replacement circuit board parts a few years ago from Yamaha Music Europe GmbH (UK) in Milton Keynes. Tel: 0844-811-1115 Email: [email protected] I telephoned them and a very helpful chap talked me through their spares catalogue using the model number. My component was easy to describe and identify but I guess an emailed photo would help if you do get stuck. Good luck

[quote name='Dave Vader' timestamp='1379688078' post='2215761'] It is reportedly not on as thick a bit of concrete as one might like (the chap I bought the house off told me that when I was buying it) it has 3 carpets on it to try and make up for that. [/quote] From the photo you posted I appreciate it might not be easy to make some space, but I'd try to lift those three carpets to see how damp they are and how wet the underlying concrete really is. One of our rooms has old pamments (porous terracotta tiles) laid directly on the ground. The original carpet was damp and mouldy and when we lifted it (and threw it out!) the pamments were quite damp to the touch with a musty smell. With the carpet removed the trapped moisture was able to dissipate and the pamments have dried out very nicely. Also, the room has no heating installed as yet (it's on the loooong list!) so I'm pretty confident the improvement has been solely due to better ventilation. Another example of that rubber glove analogy I mentioned earlier. Just an idea.

I agree with all of that, but I read the OP as being about the playing of music not the composing of it. Two very, very different things.

My experience with renovating a 16th century house is that breathability is the key to controlling damp in buildings that have not been constructed to modern standards with damp proof membranes, cavity walls and the like. Your shed might be on a concrete base but it probably wasn't laid on a DPC, plus the neighbouring cob wall suggests an old house so that probably has no DPC either. All that means there will be some residual dampness around and unless you go to all the trouble of effectively building a completely water-tight internal room then breathability and ventilation is the best way to allow any moisture to dissipate. If you try to simply block up all the ventilation then you could make matters worse. To illustrate this, think of the skin on your hand. It will probably feel totally dry to the touch, but put on a rubber glove and within 10 minutes or so your skin will be very damp indeed because of the trapped sweat no longer being able to dissipate. I would first check the integrity of the roof and any guttering. Make sure there are no leaks and that rainwater is not running down any walls. Might even be worth going outside with an umbrella next time it rains and have a close look at how the rainwater is being handled - you may be surprised how much rainwater comes off even a relatively small roof. A dehumidifier would be a good investment and will give you an idea of how much moisture you're dealing with, though if it is a lot then you should consider a unit that has an external drain facility unless you want to be emptying the water tank multiple times each day. Finally, consider heating. I know this 'fights' with the ventilation requirement and that's one of the biggest issues with old buildings. However, remember than warm air can carry more moisture than cold air so the trick is to eliminate cold spots where condensation can occur. This will often happen behind furniture or other items placed against a cold wall and is often the cause of mould, which needs fresh water to grow as opposed to the 'salty' dampness that may percolate through brickwork.

[quote name='Conan' timestamp='1379668697' post='2215403'] Do I care? Yes and no. I would like to be a better player, but I just can't justify the time and effort needed to make that happen. I'm OK with that, but it does sometimes frustrate me. Such is life I guess! [/quote] That's my take on it. I know I'll never be as good as I could be (though who knows how good that would actually be?) because I don't spend all my waking hours living, breathing and playing bass. Same reason why I can't play much piano, even though I pretend I'd like to. I say 'pretend' because although I feel as if I'd like to play keys, the basic fact of the matter is that I've never made any really concerted effort to learn, so I only have myself to blame. It's like people saying 'I wish I could fly a plane' - well yes, but it isn't just going to happen is it, so if they don't put in the effort then they'll never manage it. In other words, these are just idle dreams, where people think something would be nice but not actually worthwhile enough (to them) to put in the required effort and persevere until they've developed the particular skill in question. I'm competent enough to play bass in a couple of gigging bands but I'm not a great player and never will be because I don't work hard enough at it. It's possible, I suppose, that I [u]never could be[/u] a great player, but I'll never know for sure because I'm not passionate enough to spend all my waking hours practicing. I guess we all have our own personal effort-reward equilibrium, which doesn't stop us thinking it would be nice to be a bit better than we are but it does stop us putting that extra bit of effort to achieve it. We basically trade off all the various pros and cons (demands on our time for other commitments and interests etc) and find our own comfort level. So, as mentioned a few times above, the really important thing is to be comfortable about our playing. it's another example of the 'work-life balance' thing.

How can you be so sure what the OP believes?

I can go along with that.

[quote name='Bilbo' timestamp='1378447488' post='2200327'] Well I'll be damned. I won :) [/quote] Not sure how I missed both bits of news about this but congratulations Bilbo - I hope you're rightly proud. Writing such a book is a big achievement in itself but to have the final result judged by your peers and found to be the best of the bunch is a fantastic accolade! It almost makes me want to try listening to more jazz. Seriously though, joking aside, that is brilliant stuff!

5am bedtime before getting up at 8pm would suggest you're getting plenty of sleep - or time in bed anyway.

She is indeed, but there's more - she doesn't drink either (no principles involved, just doesn't like the taste), so there's never any problem with who drives home when we've been out for the evening, which is always amusing when we see our friends engaged in sometimes heated discussions about their own arrangements. In fact, when a group of us go out there is generally a bit of a rush to bag a lift with us.

Thanks indeed - best thing I've learned all week!

[quote name='Gunsfreddy2003' timestamp='1379536931' post='2214007'] Point I was making is that for me I like to load in to the venue in one trip and that means only using 1 cab another not 2, I achieve this with the Mark Bass head and one of the 1x12 Berg cabs in all sorts of venues and have never felt underpowered but with the BH250 I got nowhere near this hence why I sold it on!! [/quote] Fair enough. I'd agree that the ideal is a one trip load-in/out, but I'm probably a way off that because of all the other bits I tend to bring along for the rest of the band. But at least they are all easily carried. Actually, if I could drop all the ancilliary stuff, I could probably do a one trip load in/out if I put the BH250 and bass in my soft case over my shoulders, leaving both hands to carry one of the cabs. I guess a lot depends on locations and travel arrangements. I'm fortunate that Mrs FF usually comes with me and is happy to sit in the car while I do my two (or three) trips before going off to park the car and walk back to the venue. The same thing works very well in reverse. Now if only I could get her to carry all the gear as well . . . .

It's inevitable that things will sometimes go wrong. THAT'S when you really get to find out how seriously a company regards customer service.

[quote name='Gunsfreddy2003' timestamp='1365354092' post='2038439'] I found the exact same thing using one Bergantino cab (8ohms), I have not tried it in the same situation with both of them and thus getting the full 4 ohm output. To me that defeats the point of a small lightweight head if you have to then take 2 cabs to make it work for you! [/quote] I've got a BH250 plus RS210 and RS212 cabs. I've rehearsed and gigged with just the 210, just the 212 and with both. I can't really remember the venues for each configuration because I've not had a volume problem with any of them, though I did an outdoor wedding reception with just the 212 (the 210 stayed in the car) without problems. I previously played with an Ashdown Mag 300 Evo II and various combinations of Mag210/Mag115 but mainly 2x Mag210 and I've not noticed any volume problems with the BH250 config - though my back is happier. I'm not pretending this is a definitive answer, more to illustrate that asking this sort of 'loudness' advice comes with so many variables that it probably renders any answers not too helpful. The only real way to be sure is to try one for yourself. I don't get the logic of your last point - I'd rather carry more light items than fewer big and heavy ones.

well if you're going to be picky . . . .

[quote name='Lfalex v1.1' timestamp='1379425250' post='2212511'] But in fairness, more energy/resources are tied up in the instrument that is being protected than in the excessive packaging. Add in return transport costs for broken items and then sending new ones out, and it pays, even in environmental terms to pack the goods well. Most plastic/bubble wrap/tape is recyclable. All cardboard should be. It's only the dastardly expanded polystyrene that's a problem now... [/quote] Exactly. Besides, if people are so worried about environmental issues what are they doing buying and shipping frivolous things like musical instruments in the first place.

[quote name='noelk27' timestamp='1379417460' post='2212354'] That's incorrect. It would wholly depend, as with a credit card transaction, on the circumstances surrounding any issue disputed. It is a common misconception that debit card transactions are unprotected. [/quote] Be careful though - credit and debit cards are very different things. Debit card transactions do have some forms of protection but it is generally more at the discretion of the bank in question so read your terms and conditions very carefully. When a debit card is used there is no credit agreement formed so therefore all the consumer credit protection laws do not apply. There is also the rather important difference that when a debit card is used the money is removed from your account immediately (or the next day), so if you do have a dispute you end up fighting to get your money back - which you'll probably manage to do but meanwhile the money has gone. When a credit card is used payment is not taken from your account for at least 3-4 weeks, which gives you plenty of time to receive and examine the goods. If there are any problems you can inform the credit card company and they will 'suspend' that transaction so that the actual payment will not become due until the problem has been resolved, i.e. you keep all your money until you are totally happy with your purchase. In this respect, the credit card company is really on your side. Also, if you have the self-discipline to only spend what you can afford to pay off in full every month (which can be arranged by direct debit so you can't forget) then you will never incur any interest charges. So you get 3-4 weeks (sometimes more) to examine your goods before having to pay for them, all at no cost to you. And finally, regular use of a credit card is a very good way to improve your credit rating, which can be very handy for all sorts of other financial matters. Really, the only downside of a credit card is if you don't have the self-restraint to avoid spending what you can't afford - in which case there is probably no hope for you anyway. http://www.money.co.uk/article/1004510-is-debit-card-protection-the-same-as-for-credit-cards.htm

[quote name='Musicman20' timestamp='1379408464' post='2212200'] I can understand you pay shipping back if you don't like it, but what happens if its faulty/damaged? Do you get your conversion fee back? [/quote] I'm only guessing, but I doubt that Thomann would repay any FX costs. They are not really their responsibility so I don't see why they would be obliged to incur those costs - that's the customer's issue to deal with. If you don't want any FX risk then don't buy from a foreign company. But the best way to get a definitive answer might be to email Thomann directly.

[quote name='RichF' timestamp='1379278401' post='2210838'] this has already been posted and caused a minor fuss as some responded "meh" and others "wow". Guy's a member here TorVic [/quote] Didn't see it the first time but I'm firmly in the "wow" camp. In fact, I may just give up bass altogether because given my attainment to date I don't think I'll live long enough to ever play like that.

[quote name='BigRedX' timestamp='1379367748' post='2211955'] BTW can someone give a definition of a "Pub Gig"? [/quote] My definition would be one where nothing is charged on the door. Customers can just turn up and watch the band(s) for free - well apart from the drinks of course.