Chienmortbb

I wonder if they are jut trying to expand their customer base? The Haymen/Shergold original basses were unique but not to everyone's taste and by branching out they may be able to expand both the range and the people that would buy them. I love the idea of an iconic British brand but not at the expense of form or function.

I have tried 30" scale length and hated them. I wonder, as my arthritis worsens in my hands whether a 32" would be a good compromise?

I think too much is made of size. Look at some o the young kids playing full sized basses on YouTube. For example https://youtu.be/3w0JZpaHDz4?si=l8B4BtWctE0mQ_mt

You can be thankful for that. Like most of the parts on the Early Fender basses and 6 string cheese slicers, the parts were what Leo could get locally. That of course includes the woods. So no magic, just what he could get easily and cost effectively.

I don’t think you are taking this seriously. Signed Angry of Misterland (AKA Mr Small)

Want trumps need every time!

It is of course Flanger with the G sounding like Garage (the real way not the posh way) or Farage (the real way not the poncy way). PEDANT ALERT. Of course Flanger is the US word, over here in Blighty it was called Phasing, as used on Itchycoo Park and several Beatles Tracks. Phasing ( or more properly Out of Phasing) properly describes the effect while Flanging is shorthand for how it was done back in the day.

Fender Japan Aerodyne go to https://intl.ishibashi.co.jp search for AJB, they are 5% off at the moment (reduced at checkout) shipping about £160. I bought from them 20 years ago and the bass arrived still in tune. You will need to check the customs situation though.

The original Fender heatstock would have been considered fug ugly in the 50s.

To be honest if you want more, stack another Monza on top of the first.

Most bass amps, including I suspect the Blackstar will have a fixed. Do you need a variable one?

I think we agree but are just coming at it from a different angle.

I always thing CQ20 when talking about the range in general and the fact that the CQ12 has a control screen does mitigate the lack of WiFi to some extent. I suspect that the CQ12 was introduced to make the range start in the "fun zone" price wise with the Behringer and Soundcraft models and to differentiate and justify the price difference between the CQ12/CQ18/CQ20 there some functions were omitted or disabled. As I had a Soundcraft Ui16 before the CQ20, a so called stagebox mixer had no fears to for me so the screen was not as attractive to me as someone migrating from an analogue mixer. In A&H's defence, and referring to my former jobs at an audio/video manufacturer, removal of some functions can make a tremendous difference to the final price of the unit. It was driven home to in a previous job where we were designing and audio video equipment for Aircraft. We were buying 15" TVs and modifying them for use in Aircraft. The rep came in one day and said they were changing models. The major loss was that the new model had no headphone socket. The reason was that very few people used them. The cost to the manufacturer of the part was 50p or about 70 US cents. When it was on sale in the shops, that 50p became £2 to the customer. Now it may well be that the WiFi module on the CQ12 is disabled and that is a no cost upgrade that A&H could do but then they would need to add an Antenna, more wiring, more cabling and a small amount of extra weight. All of which add to the final cost. That could make the CQ12 uncompetitive and reduce the differential with the CQ18. I am not justifying it, just saying that there may be good commercial reasons for positioning the CQ12 in the range and in the market.

You can compress the 5h1t out of a signal but it will not increase the power significantly. At most 40%.

I was not comparing any cabinet or driver. I was commenting on the graph of the 12PR300. The tuning of that cabinet suggests that in the area of that dip, the cone excursion would exceed XMax substantially at relatively low powers.

When you see that dip, as with the 12PR300 on the graph, run like hell.

I have learned something new about the CQs. I new that the 12 had no WiFi and limited effects compared to the 18/20 but did not know that it could not use the monitor app. Does that change if you use a standalone WiFi router?

I think it’s time to get GSS involved. The problem is clearly with their amp as the Thunderfunk declares the cabinets not guilty.

That is the input impedance, the sensitivity would either be quoted in mV, V or or possibly dB.

Sounds to me like the Sumo is very insensitive requiring you to drive the Preamp into distortion. The GSS website is appalling. No mention of input sensitivity, no online user manual, no real spec at all. Also don't believe the Class D denyers. They have probably worked out so much to carry their SVTs that their thought processes have been distorted🤣

Its why most TVs have a Dynamic or Shop picture setup choice. Neither is natural but when you are fighting against the bright shop lighting, a natural picture would be swamped.

I have not done anything yet about the string height. I decided to swap out the picky for the Fender Japan one from my Aerodyne. That is also a ceramic and has much bigger magnets than the originals. They do sound better but the originalss not as much as I had hoped. I have ordered a set of Tonerider Classic P so will update as soon as I can.

What make drivers were originally fitted and why choose the Eminence?

Gnome with all EQ set to 12 o'clock,

l More likely due to poor component selection or poor quality components. Capacitors in power amps may het hot and if you look at the de-rating curves with increasing heat, you will see that many will only be rated for 1000 hours a elevated temperatures. Most caps are either 85C or 105C rated but of course running them cooler will extend the life considerably. Established brands like Panasonic, Nichicon, Vishay, Rubycon et al will work well within the spec as @agedhorse suggests above. However buy for reputable distributors.