Dad3353

That's quite a slow tempo, that. 👆

The advance of old age put paid to the quality of my hearing yonks ago, and there's little to be done to save it. It doesn't have to be such a handicap for composing, mixing and mastering, though. My trick is to use reference music; music that I know well from the past, with which I can compare my own stuff. No, not for its intrinsic music qualities, obviously; simply for the tonal response and frequencies. I can listen to Ziggy Stardust, for instance, and compare the cymbals there to those I'm mixing. If I can hear them, they're probably too high in the mix..! It's not ideal, of course, and I was better half a century ago, but needs must (and I was using the reference comparison trick back then, too; there's no 'downside'...). It has to be music that one is already familiar with, though, and any genre would do (I have classical pieces from Schubert on hand, or Debussy, but also Bowie, Jefferson Airplane, Fairport Convention and others...); what matters is to keep the memory of how it sounded 'back then' and compare with the subject being treated. I will admit to being, these days, rather more 'heavy-handed'; it's rare that I use anything less than 3db when adjusting stuff. I can't really hear the difference that 1db makes any more, so I'm probably less 'detailed' than in the past. Still, it's working, and without hearing aids at all (too expensive for me, anyway, so...). Hope this helps.

The Bareface 10 would certainly be more appropriate than the 1x12 guitar cab; there's nothing else wrong with the signal chain. The Bassrig is fine, the Powerstage does what it should. Far more power than is needed at home, but such an ensemble could play reasonable venues, too. That's quality gear, there.

I was careful to try to avoid notions of 'better'; there's no snobbery involved but in one's head. Thousands of folk go through Life reading nothing more substantial than Batman comics; others know nothing of Gotham City, but find a suitable quote from Jonathan Swift for any occasion. All I'm suggesting is that, to appreciate Swift takes some work, or intellectual effort, more than the Marvel tales. There is much literature well beyond Swift, too, to be mined by those minded. There's no judgement, but as some would find a diet of plain rice jading, so a diet of hip-hop would not satisfy. The basics of rap need little (not none, but little...) formal education; to delve into Mozart implies tutoring, starting with simpler stuff. How many have bee introduced to orchestral works from music lessons at school with 'A Young Person's Guide to the Orchestra' or the 'Carnival of Animals' as support..? These are gateways, passages through which one may glimpse (or not...) a rich treasure trove.

We can draw parallels with other arts or occupations. Some folk don't see food as anything more than a sandwich or bowl of rice; others will concoct sophisticated dishes. Some read only tabloids, comics or photo-romance magazines, others enjoy Shakespeare or James Joyce. It's rare, I think, to perceive the qualities, or interest, in the extreme ends of these spectrums, and even more rare that the journey from one end to the other is undertaken. Most of the time, though, it's a journey from the 'bottom' towards the 'top'; one doesn't start with Shakespeare and move on to Marvel stuff. Once one has a 'handle' on Blues, it can lead to much, much more. I doubt that many contemporary composers would spend much of their life on it, though, as they are, mostly, beyond that schema. None of this is 'bad', nor 'good', but learning to play bass for the blues can be done in a few lessons. Going further requires work, and that can only happen with motivation. Without that, one stays with the more easily-obtained genres. There's so much more, but without the curiosity, patience and drive to work on it, it won't be recognised.

When you write '... has a tendency to cut out..., do you mean that sometimes it does; at other times it doesn't..? If so, it's definitely an intermittent, faulty, external speaker connection, as that should either always happen (by design...) or never happen (which is a more 'normal' behaviour...). Being new, I'd take or send it back for repair/replacement. I wouldn't get into esoteric fiddling about; there's something wrong which should not be wrong on a new amp.

Almost the very first notes, low in the mix...

In that scenario, the speaker would receive half of the power delivered, the other half going into the crossover. Net phonic result : nowt, no more volume than the speaker being driven by the crossover.

I read it as keeping the crossover to the horn (so still 'protected...), but connecting the bass speaker directly. I'm wondering what benefit is being looked for in that scenario. The speaker would receive high frequencies which it could not produce well (that's the horn's job...), so why do it..?

That's probably close to what would happen; it has to be said that these '8 Ohm' figures are not absolute, but in fact vary according to the frequencies and currents applied, and are really just 'nominal'. I'm guessing that there's an un-asked question here somewhere; what problem or issue are you thinking of solving in this way..? Why do these impedance figures matter to you..?

You're biased.

It has a label on the front 'FET' (Field Effect Transistor...), which acts, in many ways, like a valve. There are many power amps with FET output stages, exactly for this functionality.

One on each input, so 2 x bass drum, 2 x snare, 2 x hi-hat, 3 for 3 toms, 2 x o/h, 1 x ambient. 1 x 2-channel master o/p to PA. Each has its own settings, depending on needs; sometimes by-passed.

... which, to judge from your posts here, is a darned sight more than you..! (Disclaimer : I'm a drummer...)

New music..? I'll just leave this here ...

Well, that was certainly a very difficult listen. No, I didn't stick around till the end (bailed at 10'30"...); it was better before the guitarist finally got his space-ship pedalboard to work. Free jazz..? Hmm... Not much 'jazz' in there. Infinite monkeys came to mind; maybe, by accident, a few decent seconds to be gleaned, but I've a life to lead, soooooo... I'm out.

Fixed (and perfectly true...).

Maybe try one out on the singer, then..?

I read the OP as being guitars tuned to 'Eb', with a capo to bring 'em to 'E', which they sometimes remove to drop back to 'Eb'. Seems odd, but... Maybe to suit the singer..?

Drop down a semi-tone from where..? If the guitars are tuned to 'E', with a capo they could be anywhere. If the guitars are down-tuned, with capos (why..?), down-tune the bass the same way. I'm not seeing the problem.

Whatever matches the guitars would work, Shirley.