Monckyman

Ah poo. Hope you find someone suitable. MM

I went through this about 8 weeks ago. First band audition in about 15 years! First off. relax. Then relax. Then when you`re relaxed, relax a bit more and try to keep your mouth shut! It`s easy to babble when you`re nervous so keep shtum. I reckon you won`t play a song all the way through, they`ll just be seeing if you have two hands and your own nose initially, then they`ll want to see if you know how to play. Even if you can play, they`ll be after seeing if you`re a twat. Once they`ve established you`re not, and as a bonus you can actually play. AND own your own gear it`ll all be gravy! Did I mention relaxing? Good luck! MM

Thanks for the reply JT, but as i`m sure you`re aware, they don`t seem to be plentiful, and they arent cheap. Unless you came across a few you passed up on? I think 2x210 is my ideal, but till then, I need a temp cheap solution, or one I can move on when the time is right. MM

Thanks for the advice and offer Bremen, the Kappa looks lovely, but the price is enormous! Lozz thanks for the link.I`ve PMd As to mixing drivers, I can`t help it, I`m too old fashioned not to want a 15 on the bottom end. And the level I`m playing at it hardly matters anyway but I take your point. I was thinking Deltalite series myself, but if that nemesis is about, it hardly seem worth spending up to £100 on a driver alone. Having said that I`m listening to some Fever Ray through it right now and it isn`t half bad. I`ve always liked this cab as it`s so well made and sounds great. be a shame to just stick it back in the back bedroom. I`ve just texted a P.A firm I work for to see if they have anything lying about unused I might try out. MM

That`s a shame! But, I`m sure you`ll walk out of there with something tasty. You`re just tracking aren`t you,so maybe he`ll be around for the Mix.

Pardon, you`ll have to speak up.

Lo all. Having now bought an Eden210t, I`m looking at finding a 15" driver to complement it and provide low end thump. I`m mainly playing R&B, Electro dance/pop and increasingly, a few reggae tunes. The Eden is plenty sharp and has loads of punch even loaded with Celestions but I reckon I do need something bigger for that bottom end especially when I push the volume. So, I have an old(ish) EV ported cab that I bought in a deal. I haven`t used it at rehearsals or gig yet, and it has my old eminence em200 in it, which sounds quite nice at average levels. When they are both plugged in to my Ashdown ABM500 the difference in volume and tone is enormous, with the Eden hogging the limelight. What I`d like to know, is whether this cab can be useful, with the right driver in, with ideally, a more even match in volume at least. I`ll be driving both cabs from an LM II. The 15" wouldn`t have to be full range, I`m looking for a sub after all, but I suppose it wouldn`t hurt to have a full(ish) range 15" I could use on it`s own. Or, should I save my cash and wait till an Eden115 xl comes along? Dimensions of the Cab are:w450 h680 d410 It has two x 50mm wide by 50mm deep ports at the bottom. Some pics here. Your advice and opinions welcome. Ta, MM

Lo Martin, yes that looks about right, simply both systems in place and each with their own input NL4 Can`t see any real problem with putting the wrong amp in the wrong hole either. If you patch your bi-amp into the passive circuit, you`ll simply get the bottom half of the amp (low end)through the Xover in the cab. If you patch the full range into the bi-amp circuit you`ll just get the driver with no tweeter. Both will sound the same, no top end! label them properly ,maybe colour code the inputs AND the relevant cable with coloured pvc tape. Always check before you turn the amp up, just to be wise. Hope that makes sense. MM

+1 on the EBS set and forget. You`ll love the attack sustain and punch it adds, and relax about your playing dynamics.

My very vague guess would be your output transformer has gone, and was spiking and thus cabkilling. I saw an Ashdown ABM kill all 8 drivers in an 810 once. Our tech fettled a fuse on the input of the 810 from then on to prevent said spikes. Hope you get a cheap fix. MM

The 421s are offered regularly in clubs for Micing bass cabs and can sound very nice but IMO they sound better on Rack toms and Floors. As above the D112 is a classic Kick mic and I work with a band that has one permanently mounted in their kick for the last 12 years but they sound great on bass also. Just try to angle it so it picks up as little spill from the rest of the stage. My fave for bass mics is a Shure beta52. MM

Make sense? Any use?

Hi all. I`m interested in the Sonuus converter unit,and hooking up a bass synth etc. has anyone any experience of this item? Ta. MM

+1 on the overheads, unless you`re playing soft jazz or folk and want that tinsel don`t bother. Also a tentative yes on the compressed kit. I love routing the whole kit to a stereo subgroup and compressing it a little, gives a nice snap and feels tighter and more produced. But, you need to have a bloody good play with it and make sure you don`t overdo it and choke the life out of his dynamics. A little less than you think is always the best choice. You need the same mics and gain/eq input settings if you want to plug and play too.

This shouldn`t be too difficult. have a google for "Bi-amp/passive speaker switching" Option A/, you need two speakon connectors on the panel, Input 1 is as you have it, input 2 is how you had it when it first arrived.Label the inputs! Plug the relevant amp into the relevant speakon input. Option B/ Fit a double pole double throw switch on the panel. Route the 1- and 1+ from the rear of the speakon socket to the switch in + and - lugs, and route the first out option to the internal crossover and the second (switched) option to just the driver. The tweeter wiring can be left as you have it on -2/+2 This should then enable you to switch between a Bi-amp setup (switched) or the passive setup (non switched). Option 2 may be the safer way as there`s no chance of you sticking 500 watts into the tweeter. HTH MM

[i]An SM57 is a great work horse mic, and wont break the bank, but it wont capture very deep bass either.[/i] True, and they don`t sound bad on a bass cab IF you only intend to capture the valve or distorted grind, they don`t catch much below 125Hz [i]One thing to steer well clear of is kick drum mics on bass cabs, they are designed to scoop the mids pretty radically, and you really dont want that on bass! [/i] Sorry, but I have to disagree. IMO there is no such thing as a Kick drum mic, merely mics with larger diaphragms designed to capture low frequencies and with a high transient threshold to be able to cope with the massive peaks produced by low frequency signals. Some mics have become synonymous with micing a kick, such a AKG D112s or Shure Beta 52s or Shure SM91s but they are just as useful on bass guitar cabs.(except the 91, as it`s a flat boundary mic and just sits in the drum!) All mics have their own characteristics, but most large diaphragm mics suit low frequency work better than smaller diaphragm mics like the SM57. A cheap alternative cropping up in clubs nowadays is the Audix D6 but the Shure Beta52 regularly comes up on the bay and here for around £100. This mic has been the kick AND bass cab mainstay of the festival circuit all over europe since it was released. I can`t vouch for the Americas. This has been my personal experience and not meant to piss anyone off.