EBS_freak

Freqout.

Woah, now we are on the fringe of thread descending into chaos. Sub placement, separation, stacking, cross firing... or... cardioid! Oops - forgot to include... the answer to underpowered band pub sub placement is normally coupling with a wall! (And then there's the risk of your band turning into swampy bass mush. Use with caution! )

Thats a very brave statement. Not all pubs are equal. It also depends whether you are filling a dance floor with music... or the whole venue.

It's more about the box that it's put in! Yes, you can get high displacement drivers - but then that brings in other challenges. But in the interests of avoiding arguments, I'll keep my mouth shut. I prefer 15s and 2x18 inch subs. I have the option of ditching the subs for the smaller gigs where I dont need the low end support and can work the tops harder. Ultimately it's about headroom. There's all these discussions about what size speakers sound better - but in reality, for the stuff that our ear is most sensitive to, it's the inclusion of a decent horn that is most important and the ability to lower the cross over point. (So in my cabs, it's the horns that are doing most of the lifting across the audio spectrum leaving the woofer to work purely on bass purposes. Of course, I can then free the woofer in the top even more by introducing the subs... But ultimately that's a different discussion point. As Jack alludes to... can you get lows out of a 10? Yes. Can you do that at volume? Well, not as easily as 15 can for the reasons that he mentioned. And of course, for a same x max, you are pushing way more air in a 15 than a 10. So whilst your 10 maybe able to handle the lows at low volume, can it do what you need it to when you start driving it up? Incidentally, a band that I used to play with from time to time used a single 12 inch sub. Not great at all, it quickly ran out of headroom. However, when I introduced a trigger for the kick drum, with a highly processed sample and run through a limiter before hitting the sub, it hit surprisingly hard... but thats cos I was really controlling the dynamic range of the lows that was going to that sub. And of course, with it not being a mic, meant that I could process it pretty hard without the risk of feedback. A kick drum mic - you'd get nowhere near the equivalent out of that sub.

There is a big statement to be made surrounding all of this. And it comes down to processing. If you can play a piece of prerecorded music and it does the job through your PA speakers, it stands to reason that you could do the same. HOWEVER, nobody usually processes their live desk to represent what is happening in the studio. Lots of compressors, lots of limiters. And if you do, you'll typically get into feedback problems before too long. What I'm trying to say, is that you can normally extract more out of some PA boxes with some careful processing. For my purposes, would I trust 10s... or even 12s? Well, I'm the 15 inch cab space for a reason. Out of the box, they can typically handle the bottom end better and tend to have more headroom without the need to go into more processing at the desk (which may not even be available to you).

I’d defo say that the pres in all these prosumer desks aren’t up to much compared to some of the nicer single low channel count interfaces. Factor in varying qualities of analogue to digital conversion chips and your ears are probably going to pick something up sooner or later. I’d also wager the entry level focusrite interface pres are built to a budget compare to some of those interfaces out there! But then again, as I inferred above, they are probably good enough for most. (Especially when they aren’t being ABed to anything particularly nice by the intended consumer!)

I can’t make out. Is that just the clear? If it is, wet 1500 around a thin dowel, drop fill some clear top coat until it is proud of the surrounding area. Denib the proud paint. Then 1500, 2000, 2500, 4000 (on a block), compound and polish to finish. Although you may want to polish the whole bass because you’ll be left with a super smooth shiny spot on the bass otherwise!

4 string - but the inlays are missing. Think we are pretty close.

Can you stick up a pic of the scratch?

That headstock looks quite Marleaux... two ticks. Off to google.

I think the secret to finding this bass is going to be recognising the position of the knob which is located behind the bridge. That's really quite rare to as there's not normally that much wood behind the bridge. My mind did shift to Warrior as I knew that they did that 3 in a line with 2 underneath the bridge and bridge pickup... but no, no cigar. Again, with Tobias and MTD, that rear knob is in the wrong place.

Now I've unconvinced myself.

MTD I reckon.

You're right, the prices are coming right down - and Eastern bulk manufacturing and reuse across brands, even more so. It seems like any audio device is almost expected to be able to function as an interface nowadays. However... The next big thing is 32 bit... clipping is a thing of a past now as it can all be recovered. Gone are the days of poor gain staging. Funnily enough, only yesterday, I was looking at the new Zoom 32 bit field recorders... and this - Of course, the big separators remain the quality of the preamps. The preamp on an interface, or a dedicated preamp upfront, can be the difference between something sounding thin - or fat and full of harmonic content. Yes, you can manipulate in post - but nothing gets close (and I'm not talking from an arty farty pov here) to a really good preamp. Really good preamps on high channel recording desks will run into multiple of tens of thousands of pounds. However, a unit with one or two pres can be enough for a really top end project studio - although drums may still be a challenge! In answer to your question, I would guess most people could do with whatever interface they can get their hands on, especially if it's just for using in an amateur capacity. If the desk works for you, why would you bother with an equivalent quality interface... assuming that you can be bothered with plugging / unplugging a desk if you are using it elsewhere.

I like the idea of an always on tuner - always useful if you are holding a note, you can tune mid song/bar without your sound dropping out. Then you have the mute for when you do want to drop out and silent tune.

Imagine standing with your setup now and sticking your fingers deep into your ears. Thats the isolation that an IEM will typically give you. With your IEMs, all you need is a little volume to get over that ambient stage volume. In reality, the volume you need in the IEMs can be pretty quiet - and it certainly can be a lot less than playing with no hearing protection. If your backline was for your monitoring needs only, you may as well save your back and journeys to and from the car - assuming that the PA can cover your FoH needs without backline. (I'm also assuming that nobody else on stage is requiring your bass cab for their monitoring needs). UE6 vs A4s are going to be largely separated by price. If you can afford to go to A4s, then the balanced armatures in the A4 will reveal a greater level of precision, especially in the mids and lows. The UE6 has a warmer timbre due to the inclusion of dynamic drivers and arguably not as detailed (but you know, I'm talking in uber obsessive terms terms here, the UE6s are going to sound way, way, way better than the majority of universal IEMs). If you haven't clocked already, the UE6 is a great IEM in that it has greater headroom than 3 balanced armature based IEMs (by using dynamic drivers in the mids and the low (dynamics have more headroom than BA). So the key bit for bass players, is that where you need the headroom (in the lows), a balanced armature IEM would need 2 bass balanced armatures drivers to have similar headroom to the 1 dynamic driver in the low. The easiest thing to do is listen to the difference and see if the extra money of the A4 is worth it to you... (you may even prefer the sound signature of the UE6. I love the UE6 and would be one of my top choice IEMs for sure).

In my experience, singers are the ones that make use of the stereo functionality the least! (And thats if you can stop them taking one of their IEMs out!)

Mono works well enough - but stereo is a different kettle of fish. Having said that, I'd still take a mono IEM feed over a wedge any day. If you are feeling flush, you could always go down the ME500, ME-1 route...

Bow finishing, David Wilson, Sims guitars.

Meguiars ultimate compound followed by Meguiars ultimate polish. If the scratch is deep but not through the clear, wetsand, 1500, 2000, 2500, 4000 (must use sanding block - tiny one as I'm presuming the scratch is small!) then Meguiars polish. (Not for the fainthearted... and don't go through the clear coat!

Nathan East plays a stock BBNE2 5 string... apart from when he plays his 6 string BBNE2... which isn't available to the public (that kinda counts in a roundabout way, right?)

I'm guessing... cos Wal filter based preamp is a bit of a devil to adjust on the fly... Anything in the studio has probably been processed to death... and I think I read that he liked the carbon necks as they never moved, so on tour, they were consistent with no issues of altering the truss rod or getting action right. They just don't move. But you know, I read this on the internet so it could be complete b*llocks.

Hmm, looking into the Garrison vs Janek signatures, there really isn't any discernible difference between the two at first glance. It would seem that all the Garrison esque changes have been incorporated... so yeah, if there is a kickback, I can see Matt being p1ssed. I've never really thought about it because it's not likely to be the sort of thing that would ever be something that I'd need to consider. Fodera designs I guess are a bit more specialised I guess... but looking through a different lens, all these Fender Jazz bass signatures... how different are they to each other... really? I mean, they are all kinda the same with just a few notable exceptions (e.g. the Marcus one)

And it took that long to get that out? All seems a bit playground. Also - I wasn’t aware that the high C was anybody’s thing? I hope that Janek gets to his goal. Getting YouTube to work is pretty hard - but for me, he’s going to have to be far more engaging!