taunton-hobbit

Only Matamp make Matamps (or Ormat, if you must) - talk to Jeff - the handles don't fall off his stuff......

Old-fashioned carpet felt underlay is very good, if you can get hold of it...........

In my humble opinion, Woodstock (1969, for those that missed it ) was THE birthplace of Corporate Rock; it changed the way we looked at the Product forever.........

I'm probably going to get flak for this, but have a look at Mackie c200 passives - they're a good 10" and the horn cuts through well - I'm using a couple as upper-mids, driving variously with Crown 2k xls class d and Ormat 300s (valve) - I've had no issues at all.........

I've just had a look at my Dubsters - the baffle looks to be about 3/4" back from the grilles - I'd get some substantial steel grille cut to fit the internal size of your cab and mount, slightly below the outside edge level, using black wood screws and rubber cabinet feet (or doorstops, if enough room) - available from any DIY store. The rubber will damp the grille, as well as holding it away from the baffle........

'owner switchable' fans are not a good idea - the chances of forgetting the thing is off simply begs for trouble, imo..........

Having regard to the Marley stuff being tailored for a white audience, it was very successful, so it makes sense to concentrate on this as a start-point......at least you know it has a track record (unintentional pun) and will likely be well received.

Powered speakers have always worried me - it all looks fine when it's on a stage where you have control - put it 'down there' and watch some village idiot do something silly/terminal.....I'll stick with amps and string - it's easier, long-term.....

I'll come back to this later next year - 'things' are going on at the Hobbit house...............

'Things on poles' are fine for vocals (sorry Vladich) - but you ain't gonna get anything worthwhile (full range) without subs..........

It's ever so quiet in here........no-one want to own up?

In defence of the LC - it was never intended to be a bass amp - as a general purpose slogger I recall one doing quite a reasonable job of 'powering up' the downstairs disco room at the Kingston Cellar Club, back in the day..........

If this is a new b/f, you have 30 days to like it or return it (you pay transit) - so, if all else fails, bounce it back unopened & order one with a steel front - I suspect you'll hear from Alex when they get back from the holiday break.........

Just a cautionary note: Extension leads on drums should always be unwound completely - there is a very real risk of the cable left on the drum overheating/igniting if sufficient load is imposed -

I'll not name the pro-audio guy who tried to tell me that the crap noise from my brand-new custom built amp was caused by the 'factory next door'. After ten months my tech has nailed it (& redesigned/rebuilt most of the circuit to BBC standard) - he gets my Denon decks in a couple of weeks, to work through my installed detritus of output & aux rca inputs....s'gonna be one of the best of the best......you just don't have to be in a hurry for this sort of work - fortunately I've spare kit should the need arise)

Odyssey - 'Greatest Hits' 1987 master - German (Polydor?) - don't knock it 'till you try it.... Bronx Street Mix of Native NY is probably worth the cost alone.......

I spend my life selling stuff to people - this style of Blather Marketing is sooo irritating, but people believe, because they want to............

You need a tech (which I'm not), but thinking out loud, both preamps would need to be powered up all the time and output wired into the 'switch' - you need separate channels,,,,,,,,,if there is such a thing, a pedal with a 'break-make-break' type action sounds possible, but both preamps would have to be preset for the same gain signal to the main amp. Personally I'd use a multi-wafer rotary with capacitor buffers, clunky but safer, in my opinion) - over to the technical department............

I suspect that both will sound fine - my problems start when I try and play something 'mastered' (loose use of over-used term) at 200watts plus(& yup, if I'm gigging, I really do use that sort of volume - probably explains why I don't get asked to work lots)(my current 'potential' amp power is around 3000 rms.........)

Never sold anything on the Bay at a worthwhile profit - it might happen, one day......

Any vinyl in that state wouldn't sound like that. Just sayin' (I've had Adblock on machines for years) Ads like these sell the image of retro-junk to the plebs..........

I'd immerse in dub & version - Tubby, Lee Perry, U Roy, I Roy, Freddie McGregor ( Minstrel & Queen/Wine of violence...) you need to feel the riddim if you are going to be at one with the music - British ska like Madness was a thieve by Jerry Dammers from his dads (?) record collection - Marley was reinvented by Island as a form of Black music to appeal to a white audience - listen to Bangarang, Pheonix City, Pretty Cottage & More Scorcia for starters, all different and all valid........Barbara Lyn Letter to Mommy & Daddy was one single that kicked it off over here - I've played this stuff for forty years, and I still have a 2k system for home (!)

Someone once told me that reggae bass is played on the 'off' beat, not the 'on' - is that any help?

Looks that way - someone trying to be clever (or deal in futures, depends on your point of view) ?

My musical education started in the late 60s with the Jackson Studios in Rickmansworth & I was lucky enough to rub shoulders with, among others, Jon Hiseman, Mat Ross, Jeff Reid, Jimmy Page & David Bowie. All amps were valve & I can recall hearing some Ronettes tracks mastered at 15ips - replayed for me on a Revox..the crispness was simply unreal. I've just about got something similar happening on my own system, but it's taken half a century to get there - I'm thinking that I won't bother buying an mp3 player yet.............