Chienmortbb

I have seen a number of pros ideal response for a PAs , and they usually have a boosted shelf at the low end. Can someone explain why is it the they do not sett the response flat?

Nice bag,

I was a frequent t visitor to Japan at the time and these were well regarded guitars. Never played one though.

Maybe give Crimson Guitars a shout. They used to do kits of the very highest quality and might just be able to help. As they build very high quality custom guitars.

I had a BLX130 once, and wanted the extension cab to go with it. I spoke to the chap that built, or designed,(it was many real ales ago) the TE cabs. He said they used MDF as it was the best material for speaker cabinets. Actually concrete is better and I believe GR Bass are about to launch one. On a serious note, every design is a compromise between cost, performance and practicality but that BLX130 with a 10" celestion only weighed as much as a dwarf planet. It sounded lovely!

I think this is the real reason to use Aux fed subs. You can choose what gets to the subs and EQ/Filters are never ideal.

Gravity are a good make, I love my mic stand.

The last ones I bought were Novopro SS3R Speaker Stands. They have some gas assist but the main thing is that the safety pins are built in, not dangling Ona piece of string. That means you never lose them. The gas assist would only make a real difference on lighter speakers but it helps.

@stevieused to wind coils for people but with his LFSys venture I am not sure he still does. He may also advise on capacitors.

The question of Aux fed subs is almost as toxic as the Tonewood wars of old. They work for some people they do not for others. So let’s stoke the fires, Look at it sensibly. 1. As I see it, and I am not a professional, placing the crossover after the main output of the mixer is the ideal. You would have had hours prior to the start of the show to balance the subs and the tops, using Driverack or other Speaker Management Processor (fancy digital crossover). You have positioned your fleet of measurement mics throughout the venue and use software to have an acceptable balance everywhere. 2. You get to the Dog and Duck an hour before the star, fighting you way through punters finishing what is described as Hunter’s Chicken. Try to avoid slipping on a child’s partially digested chip portion laid carefully, like a minefield, to maim the weekend warrior. Do you go back to unload the plethora of outboard processing loads “just in case” it was needed? Or use the DSP in your mixer to tailor the outputs to your tops and subs? The truth is I have heard from countless Sound Techs that produce great sound using both ways and reality often tells you what you can and cannot do.

Sounds like you had an off night then? Seriously that is a great review and you should be proud of yourselves.

I know someone that tried BFMs approach and was very underwhelmed. I suspect they arrived too early as with DSP you could iron out most of the problems, but then are you solving problems that do not exist with other drivers?

The cabs that started the thread were tge HD12s and on paper they were no better than the ART Equivalent. In my opinion it was the sound guy but others may disagree.

Faital Pro’s FE range of drivers is not really good enough for bass drivers IMHO. @Phil Starris right about Piezo tweeters however Motorola, the inventors have convinced everyone that you only need a resistor in series to crossover. Not true, the resistor protects the Piezo but does little to the response. To successfully use a Piezo you do have to use a traditional crossover which does take many of their perceived benefits away. In addition the small round one, as shown in the pictures above are only good above 4KHz, way past where most LF drivers start beaming. This makes it very difficult to get a decent dispersion and the dip, off axis, is right in the area that the ears are most sensitive to. more piezo information here https://www.grc.com/acoustics/CTS_Piezo_Tweeter_AppNote.pdf

To be fair that is a £500 microphone and should sound better. The SM58 was a revelation when it came out but other makes caught up years ago, I was working on a show that the BBC were covering, unusually the BBC had not brought the right mix of mics. For FoH we were supplied with a box full of dynamic mics and the SM58s were front and centre. The BBC man sorted to the back of the box where the "also ran" mics were, the "disposable" ones. out of the box he took a Behringer XM8500, muttering about them being much easier to EQ. The SM58 was inferior to the Sennheiser dynamics at the time but were way cooler, the Sennheisers looked more like an ice lolly than a mic. More modern mics are better than the SM58, mics from Shure, Sennheiser, AKG, Sontronics and SE (I have to admit I have never heard or tried the SEs). However Like the Precision and the Strat, the SM58 is iconic and as such

The original Fane Crescendo had an aluminium dust cap that supposedly extended its frequency range and empirically did sound great to my young and untrained ears. AFAIK, theee were the first 12s to reach 100w power handling with and claimed 99dB efficiency. The problem? The aluminium dust cap would crack although a dab of epoxy resin sorted that mechanically although goodness knows what it did to the response. I know that @Phil Starrhad some back in the day.

Me too but NAD put paid to that.

That was one of my worries.

Good luck and keep us informed.

We had this over July/Aug/Sept often two per weekend. Now nothing since 15th November to Feb 9th.

Has anyone used these in anger? Of course it is not as good as using audio cable but I suspect it would suffice in many applications. Thomann Cat Snake

I did think about adding condenser but you are still the exception for vocal mics on stage.

I agree but for us weekend warriors, £3K vs £30? In saying that I progamme mine so rarely that I have to re-learn it. Also the firts PARs I boughtb were a new model but the protocol had changed from the old model but they had included the protocol document for the old model. I wasted hours...