Chienmortbb

Does it check TS leads correctly? Most Cable Testers I have tried only cater for TRS.

I have had a Sound craft Ui16 and now have an Allen & Heath CQ20B. Neither has a pink noise generator. It is likely that it may appear on the CQ range in a future update but for now it is not there. While trying to reach the magic £150 on Thomann, I noticed the Superlux Pink Stick, I of course popped one into the basket. It was £33 and I can see it being really useful. It can be used at the console/mixer as a pink noise/sinewave generator for checking the PA/Speaker settings but probably just as useful, for checking individual cables from the stage for checking mic/DI cables with 3 pin XLRs. It runs from phantom power so no batteries needed so will also check for the presence of phantom power. Strangely it only seems to be available from Thomann.

I have had a Sound craft Ui16 and now have an Allen & Heath CQ20B. Neither has a pink noise generator. It is likely that it may appear on the CQ range in a future update but for now it is not there. While trying to reach the magic £150 on Thomann, I noticed the Superlux Pink Stick, I of course popped one into the basket. It was £33 and I can see it being really useful. It can be used at the console/mixer as a pink noise/sinewave generator for checking the PA/Speaker settings but probably just as useful, for checking individual cables from the stage for checking mic/DI cables with 3 pin XLRs. It runs from phantom power so no batteries needed so will also check for the presence of phantom power. Strangely it only seems to be available from Thomann.

Are you just speaking of the IEM mix here? I have always been of the opinion that, in most venues, a stereo front of house mix is only worthwhile at the mixing position and everywhere else is missing something to a degree.

I know some people don’t like Behringer but their analogue crossovers are good. £76 plus p&p from Andertons https://www.andertons.co.uk/behringer-cx2310-v2-crossovers/

I always loved the idea of those Nexus amps but the size is a killer for me. I also wonder why Glenn Hughes went to Orange after using the Nexus for some years?

My lot moan if I am 3 minutes late, they all live eithin 15 mins of rehearsal space, I live 1 hour away.😜

First rehearsal today as a four piece, our rhythm guitarist having retired director ill health. We were tight, we could all hear each other and the singer asked me to turn up. I have not enjoyed myself so much for years.

I have thought about this long and hard and on reflection a GK 15” loaded combo was the worst. I never got to grips with the ass backwards EQ layout could never find the flat setting. It used the internals of the MB200, including tbe ICEPower 50AS2BTL power module. It looked the business but could not keep up with a drummer and guitarist. Needless to say I sold it shortly afterwards.

I was once watching friends band, late 60s or early 70s. The bassist had a pint on his amp, it moved while he was playing. Eventually the pint toppled over, pouring its contents through the ventilation grille onto the hot valves below. Needless to say the glass cracked, the amp stopped working.

There is a sub-forum for Feature Suggestions on the A&H forum https://forums.allen-heath.com/c/cq/cq-feature-suggestions/22

That looks very well thought out. I bought a pair of those 3d printed brackets to add your own wood too. First stomp it broke. 😭

Are you some kind of heathen? Seriously though any jam/ open night mic should have a degree of elasticity in the songs that the jams are loosely based on. On the other hand I have had fun trying to play songs that I only know from hearing them. It is also important to curate the evening well and try to avoid rank amateurs, whether Jam or Open Mic. Most happen in pubs and clubs and you must not drive away paying customers.

I think there are a number of reasons for this, bass was almost seen but not heard in the past, but now even us oldies expect to hear more bass. Just try learning the bass part of a 60s song on an old car radio. To some degree, we have gone power mad. In the 90s, 300 watts was considered a monster. However, you only have to read how many people are using the micro amps, Elf, Gnome etc to gig with. These output about 100 watts into 8 ohms and will keep up with two 30 watt guitar combos and an acoustic drummer. The difference between 90 watts and 100 watts cannot be heard. Of course, some might respond that valve watts were more powerful than solid state, nonsense. Valve amps compress nicely but can only output around 40% more power at maximum distortion, the same as a solid state amp of the same power. So why are all my three amps 700–800 watts? Strangely, I use one of them as a spare that can be used either for bass or PA. The main reason is that they are there, and I can afford them. If we think back to the good old days when guitarists had 100 watt valve stacks, 300 watts were not enough (tell that to your ears) and 300 watts either Valve or Trace was the minimum you needed. However, playing with a couple of Fender Twins, AC30s etc in a pub/club, 300 watts are more than enough. As my cabinet is 8 ohms, 350 watts is comfortable with headroom (remember, solid state amps are usually quoted at 4 ohms. At 8 ohms, they will usually output 50-60% of the 4 ohm power).

Yes C17 is a decoupling cap, forming a high pass filter with R16 removing residual noise. Contrary to popular belief, this is likely to be at 100Hz (Europe et al) or 120Hz (North America, Asia) as the typical transformer/rectifier power supply adds noise at twice the mains supply voltage. It was a rule of thumb when I was working that you did not use a "tant" unless you could not help it. They used to be very prone to going short circuit I believe. https://sound-au.com/articles/capacitors.htm

I design and install high voltage audio systems, 70V and 100V. I would use an L Pad of some type if the customer wanted a local volume control, but I would not consider a HiFi speaker with one fitted. DSP does allow the designer of a PA top to tailor the sound for the common scenarios found in the real world. However, my original point was that most of the passive designs for bass guitar that include switched, or variable tweeter attenuation are there because a proper crossover has not been designed and/or a really cheap and nasty crossover has been installed.

There is no real benefit in using a 4 ohm cabinet, and they are not that common. A good single 10 will more than suffice as long as it is sensitive enough,

Tantalum capacitors are usually not recommended for audio circuits so why do you think the electrolytic is worse, or am I reading your reply wrong?

You could have a unity gain amplifier.

"Have you tried switching it off then on again?" Seriously, I am glad you have got it sorted.

Because a user cannot know what effect she/he is having on the cabinet characteristics. Also, there are many things we did 50 years ago that we do not and would not do now. Indeed, Child labour in the UK was only really banned in 1944 when compulsory state education was introduced.

This is probably better described by@agedhorse earlier but... To get maximum voltage transfer, the input impedance of the amp should be at least ten times the output impedance of the preamp. A bass head will traditionally in the region of 1 Meg ohm or one million ohms. In that case, the 12K output impedance of the Sadowsky is fine. As it is, you are losing approx 1/2 the voltage output by your preamp due to the low input impedance of the Sumo. You could connect half the balanced DI output on the XLR. Although you would lose half the output, -6dB, you would regain it due to the lower impedance and if we assume that the DI output is at line level, it will be much higher. This assumes that the DI output is at a professional line level, 0-4dB.

Of course, some bass cabinets are flat and have a full and have flat frequency response or transfer function, ideal for either modelled sounds or the traditional Head/Cab use. However, even those will sound different due to both the specifications of the drivers used and the design goals of the designer(s).

Bill is correct, but of course some "tops" with DSP have a monitor setting or even provide a high impedance input suggesting that guitar/bass is allowed or even expected, but a "top" capable of handling a bass at volume, without a High Pass Filter is both expensive and rare. I would use your Ampeg Pre-Amp pedal into a lightweight (compared to your EBS) head into a good cabinet. I am not going to recommend any particular amp or cab, but the main difference between amps is the Pre-Amp. As you have the Ampeg, look for an amp with a good power output with the ability to bypass the front end and input to directly to the power amplifier. As for cabinet, look for n uncoloured cab (the colour is in the Pre-Amp). The main thing about a PA top, such as the QSC 12.2 is that it has a decent crossover, compression driver and horn. Very few bass cabinets have this, so even those with tweeters are a significant compromise. Also avoid cabinets with adjustable tweeter level. This suggests a lack of confidence in the design. Your bass and preamp can reduce the treble, so why put an attenuator on the cabinet?

Not had any problems, have you asked on the A&H forum?