Chienmortbb

I have always liked the look of this https://www.axminster.co.uk/axminster-drill-guide-500458

The thing is that those are all digital devices and in my experience add 2-3ms each minimum. The Ramsa WRDA7 digital mixer , for which I was Technical Manager, had a 2mS delay although Yamaha suggests that 4mS is the norm for digital mixers. I suspect that Smoothound are being truthful with their figures while many others choose a best case scenario. I have used my Smoothhound through a Zoom B1on and then FOH through a Behringer X Air and had no problems. Others have used my setup and never reported a problem. Incidently on the latency video above, although I can hear some difference at around 5mS, there does not seem to be a real issue with a double beat until close to 30 for me. The biggest issue we have had is that with some of the lower priced units, there is interference with the X-Air mixer's wireless signal causing remote operation to fail. This does not happen with the Smoothound. In my opinion, IEMs should not add any delay as they are monitoring systems. They should faithfully reproduce the signal they are given including timing

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Phil Jones puts drivers in two columns, to my mind that is not a line array. As I understand it, the point of a line array is that it focuses the sound. With the focus being more defined as more vertical* drivers are added. Put drivers side by side and the focussing effect of a line array is lost. Putting multiple 5” drivers together will help the low end but * Assumes the aim is to restrict the sound in a vertical direction.

I tried a thumpinator and saw considerable cone movement that suggests to me that the -3db point is set too low. I have only modelled it but to me 35 Hz and up works best. As for built in HPF, ant manufacturer should disclose the frequency and slope of the HPF.

I agree, I would plump for around 40/45 Hz. I also agree that the kick must be heard but not over-power the other instruments, I suspect some of the problems with the kick though PAs is also over use of dynamics on digital mixers.

Wrong thread I know but I have been to gigs where it seems the kick is set up first (. Close to using up all the headroom) on its own it sounds great. Once the band plays is obliterates not only the bass guitar but everything else. Are they taught this, are their ears shot ( soon will be) or is it that they have never been trained. I agree that an HPF is a very useful addition to a bassists arsenal. In my opinion many can be set too low. If you model a speaker in WINisd then put a forth order filter on, based around 35HZ it makes almost no difference to the output but reduces the work the speaker ( amp amp of course) does considerably.

I would agree Phil although some of the Chinese stuff at B&Q I have seen recently is poor quality.

Our guitarist used a cheap wireless system the keeps knocking our the signal for the Behringe Air mixer. It is quite happy with my Smoothound.

The RM112 is very light. Around 13Kg if i remember rightly.

The delay will be due to the Dorset’s not being connected for a few seconds while the power supply settles down. I am not familiar with the model but can you take some hi res pictures of the inside and paste them on here?

To be honest power in the UK is fairly clean. Your DI should be able to reject any power noise.

No dimmers use a technique similar to PWM as used in Class D Amplifiers.

The first answer is correct it’s a number of nominally 8 ohm abs are closer to 6 ohm, the 2 ohm setting might be better.

Chris Squire for me. First bassist that made the bass more than a rhythm instrument.

It can be done but both add complication. Pedal supply would be a 9V regulator and the aux supplies on the 125ASX2 has a limited current draw, 350mA if I remember rightly. This is not even enough to power a Zoom B1 ON or B1 Four let alone a Helix. The HX Stomp needs 3A at 9V. I could run the pre-amp supplies at +/-9V to simplify matters but that would reduce the headroom in the preamp. I have assembled a fixed voltage +/- 15VPSU for the preamps Phantom Power could be put in the final unit but for the prototype I want to prove the concept soI am keeping it simple. Personal natters are keeping me from the project at the moment but it is progressing if more slowly than I had hoped.

So true. I have lost count of the times I have heard recorded music through a PA sounding good/OK then the sound is poor when the band come on.

Well trace are no longer, they were bought by Gibson the sold to Peavey years ago. Post a pictures of the problem and some of us will try to help.

Picture please?

Of course to make it really aged you would now need to remove the pickup cover and ashtray bridge cover. 😇 Nice job and I love the blue. On another matter, where did you get the headstock decal?

Input board populated,

The best laid plans.., I ordered some connectors for the two smaller boards but stupidly ordered the wrong pitch. Of course I would have needed a crimp tool too and in the end I decided to use some PCB terminal blocks. They are on order along with some 30mm hex standoffs. The wrong connectors will go on EBay. The standoffs are to mount the power amp module on to an aluminium sheet to add extra heat sinking. Pictures to follow. The input board is now populated and soldered. Just output board to populate and solder the output board.

That jack socket is rated at 10 amps so will be OK. The plug rating is dependant on the mating socket so will be determined by the quality of the jacks Mesa use.

Its OK to be OCD about string alignment along the neck but it does not matter if tye strings are not exactly in line with, or exactly between, the pole pieces on the pick-ups.

I have to say that I prefer the tuner on the floor in front of me.