soundian
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Posts posted by soundian
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It could be difficult leaving the mains power on and not moving the amp until the valves cool down if you're a support band.
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Originally posted by GraemeC:
No point in making a 4way cos you would have to fit 13amp plugs to the yank amps.....
Better if they had a yank 4way or 2.....dont ya think?
G...
Yea, from the safety point of view, you don't want to plug in a 115 to a 250 supply.
Getting them to bring a couple of yank fourbars and wiring them up to a 110V connector would be best...don't ya think?
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Originally posted by GraemeC:
No...dont buy anything .... most tool rental companies will hire you one really cheap.
And if they are using american made gear bought for the american market they wont have 110/240 switches...they will run on 110 only.
G...
Depends how long you need it for. You'll still need to make a cable though cos those hire shops will not give you a converter cable.
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If they don't have switches on the amps then get hold of one of those transformers they use in building sites and a plug to go into it. Wire the plug into a 4 bar and you'll have all the pussy american power you want.
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Originally posted by Tav:
I got the don't mess around attitude from Lava when you soundchecked us. We learnt pretty quick that the best way to do it is to get on stage do what we're asked, play and song and get off. Even got thanked for being quick once or twice.
When I'm under pressure anyone who doesn't fuck around gets my thanks. I've got to think of the bigger picture and most bands are only concerned with their little bit of the evening.
Oh, and when it comes to packing up, take the equipment off-stage as quickly as possible. Pack it offstage. Other people are trying to set up and an open guitar case takes up a lot of room, never mind drum cases.
No 232 in the Stupid Things Bands Do list
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Originally posted by Dechristianise:
Ian small question ..... are you the only like official Soundman in aberdeen as you do nearly all the venues in Town ?
Er, no. The Lemon Tree, The Loft, The Moorings and Drakes never need my services.There's also at least a handful of freelance engineers. I just work in two venues which have a high turnover of bands with the occaisonal freelance job if I can be arsed.
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Originally posted by Tav:
Be in tune! Don't arse around at soundchecks.
I like this guy.
One more tip for bands in general though. If your next to soundcheck, don't stand watching the band, use the time to tune your guitars, check your batteries etc. Then your ready to go on stage and soundcheck without everyone else standing about waiting while you tune up/frantically run round trying to get a new battery etc.
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Originally posted by Ross:
DON`T PISS OFF A SOUNDMAN.......
ESPECIALLY IAN CHRISTIE
Yup.
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Originally posted by Hairy Scary Mark:
impedance mis-matches shouldnt be a big problem especially concidering i think that is a solid state amp which has few parts that are likely to be damaged.
It really dosent matter what the speaker cabinet is rated at within reason alough getting one rated around the same as the head is advisable. just get whatever cabinet sounds good with your head.
If you get a battered second hand cabinet replacing the speaker drivers would be advisable.
Try sticking a 300W 8 ohm rated amp through a 300W 4 ohm cab.
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The E-bow did cross my mind but the proviso was that it could work for leccy stuff as well. Try an E-bow on a keyboard.
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Now I've thought about this for a bit, I don't think you could get a sustain pedal that would work for electronic stuff as well as guitar. compression would gain you a little more time but most sounds would get fucked up with that sort of compression on it. Guitar sustain relies on the interaction between the strings, pickups and what comes out of the speakers, electronic equipment doesn't have that interaction.
Delay wouldn't work either. If you had a short enough delay time to sustain the note it would also colour it, normally making it more 'boxy and 'middy'.
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Erm ,don't know much about guitar pedals, since they automatically qualify as Somebody Elses Problem.
Simplest and cheapest route to sustain. Move your guitar nearer to the amp with the pickups pointing at the speakers. Get your gain structure and tone in the right ballpark and your all the way.
Oh and spellchecker, I think a piano sustain holds the hammer just above the string to let it sustain, rather than resting on the string to dampen it.
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Originally posted by lime:
i know what rms is, if you could do my physics "homework", youd probably have a much larger pay cheque than you do.
Now that's definitely condescending.
On second thoughts, no it's not. How can you be condescending from a position you haven't reached yet.
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Originally posted by lime:
i dont really understand this statement, rms just divides the peaks by root 2, im probably out of my leauge
And I was explaining what rms was. In a slightly condescending manner but I found your next statement condescending so I couldn't resist giving you a taste of your own medicine.
Am I doing your physics homework for you?
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Originally posted by GraemeC:
Shit.....I was just away to say that.....
G...
What, all of it?
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Originally posted by lime:
anyone whos done standard grade physics knows what it means.
Not everyone has though, and some haven't done it in a while. I'm sure I wouldn't remember it if I didn't use it on a regular basis.
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Originally posted by lime:
impedence, actually.
" If the output on the amp is rms, you need 30% more power handling in the cab to handle peaks."
i dont really understand this statement, rms just divides the peaks by root 2, im probably out of my leauge
IMPEDANCE actually!
Amplifiers have a finite gain limit, when you try to amplify above that limit the top of the waveform gets chopped off (clipped). Your peak/clip lights on equipment will come on when you get close to this limit as a warning.
RMS is based on sinusoidal waves (the type you get out of your mains socket, normally produced by a rotating coil in a magnetic field). The average output of a sinusoidal wave is 1/ root 2. (basic trig and calculus)
Any 'o' grade physics student could tell you that.
The 'peaks' I'm talking about are when you overload the pre-amp to such a level that it 'clips'(cutting off the top end of the signal). These can deliver significantly more power than un-clipped waves. Hence the safety factor.
To put it simply, if an amp is rated 300W peak, that's your max. power and a 300 cab should handle it. 300W rms on the other hand is a convenient shorthand for average and a 300W cab wouldn't be able to handle the peaks.
Capisce.
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Originally posted by Tav:
When recording I found out the intonation on my bass was out by quite a bit...my low E and A strings have been moved back quite a distance and no longer are the saddles roughly inline as before...it looks weird <as it is quite an extreme adjustment> but the tuner says I am right...
Most guitars will have the lower (fatter) strings longer then the rest. Look at the fixed bridges in acoustics, They slant, making the thinner strings shorter, and generally have a slightly different saddle posiotion for the B string.(M3rd interval as opposed to a 4th)
I agree with Rob as well, in the absence of a tuner harmonics are easier because you don't need to hold a string and stretch the other one to the machine heads.
If your intonations not right either method will make you go out of tune higher up the neck.
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Originally posted by YETI:
actuaally the distance of the fret is rilavant since the three variables of a string are length tension and mass (given by material and diameter)
the frets can be changed but only in relation to the length of the neck.
if you change the distance of the individual frets youll end up with very different notes that don't follow the semitone progression
What I'm trying to say is: if your intonation is fine then tuning by harmonics is just as valid as tuning using fretted notes.
Using frets always introduces slight tuning difficulties because musical scales are not mathematically precise.
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Originally posted by Rob Karloff:
The Maths :
1/Rt = 1/R1 + 1/R2
1/Rt = 1/8 + 1/8
1/Rt = 2/8
1/Rt = 1/4 (simplified from above)
By cross multiplication, 4 = Rt.
If you're wiring in serial, then you simply add up all the resistivities together to get the total ohmage.
Jeez, that even gave me a headache and I know what it means.
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Originally posted by RomanChrome:
Yeah it is the BX3000T. So a 400 watt 4 ohm bass cabinet would suffice?
I think that would be fine. I doubt you'll ever need to use it full whack. Unless you fancy the sound engineer stabbing you with a rusty micstand.
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Originally posted by GraemeC:
Eh ian....I think you meant "an amp" with 300w output....
And I have always worked with a 50% saftey margin (with valve amps) cos rms figures aint always very accurate.
G...
Whoops, well spotted G.
I don't think I mentioned it but that would be the minimum. Allowing for the possibility of clipped waveforms and the current trend for bass distorion 50% would be a figure I'd be happier with myself in a professional situation. Rms figure don't take into account the extra power you can get from clipping it.
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Sorry I'm not Craig. Will I do anyway.
Cabs are rated in watts but most people forget the other important factor: resistance.
A cab with a 300W 4 ohm output will deliver less than 300W into an 8 ohm cab.
And if you want to get really picky (and I would advise this, especially for bass) is the output rms or peak.
If the output on the amp is rms, you need 30% more power handling in the cab to handle peaks.
Therefore a 300W rms 4 ohm output would require a 400W 4 ohm cab.
Advice on looking after a valve amp...
in Musicians' Corner
Posted
It's only through you that I know how heavy Trannies can be!
Can you wear the blue dress next time, you know it's my fave.
I only said that cos I know I'll have a plethora of spotty faced guitar geeks refusing to take their valve amps off-stage 'til they've cooled down.( The amps, not the spotty faced guitar geeks)