Chienmortbb

This was one of the reasons that I bought it. The HX Stomp has a TRS jack out and I prefer XLRs for DI.

Theoretically yes but in fact the Low B is not necessary or at least it's fundamental is not. When I did play 5 string I never needed a low B and in fact it usually sounds bad. Duke Le Jeune of AudioKinesis tunes his Thundrchild cabs to -3dB at the second fundamental, usually 62Hz for the 15" and 82Hz for the 12s. While that may be a bit extreme, @Passinwind of the parish over the pond loves his AK cabinet. Very few current or classic cabs can reproduce the fundamentals of 4 of 5 strings so it is sensible to HPF at any frequency the cab cannot really reproduce. My minimum would be 35Hz at 12dB/Oct but anything up to 50 makes little difference to the sound.

I cannot agree more. The area below the fundamental is not musical at all and most of our sound comes from the 2nd harmonic upwards. A simple hearing test will prove this. If anyone can get to grips with WinISD, you can apply a filter ans see how little difference an HPF make to the response of the bass sound when modelling a cabinet/driver.

These cabs will appeal to some like Harley’s appeal to many well heeled motorcyclists. Good luck to Barefaced if they can sell a few.

This is because the strings have cooled since tuning. When you play, the movement of the strings causes the string to warm up. As the strings warm, they expand and go flat, tune them up and leave them for awhile and tuning will be sharp. You should always tune your bass after playing it for a few minutes. I just strum all four strings like a maniac for five minutes. I learnt this from a tip on the Fender Website.

We have not gigged for a while, one of our guitarists had a heart attack a couple of month ago and we had to cancel some gigs. We did one gig as a 4 piece that went quite well. This weekend we are supposed to be playing as a 5 again. The venue is one where we have struggled to hear each other in the past. Only vocals go through the PA and as the guitards are on either side of the stage and this stage is wide. I have pushed to go IEM or at least get a better monitoring system but there are two dinosaurs in the band. The singer is one and he is the youngest. My last attempt at suggesting IEMs was met with "I hate them and will never use them". The guitarist that had the heart attack has commented more than once that he has never seen anyone with more leeds, meaning why have I go so many? Of course they all turn to me when I have an Allen and Heath CQ20 and I love it, it is more than enough to put all of us through the PA and have a mono monitor mix each. I also have enough speakers including some active subs. That stays in the car as a back-up though I usually try hard to get the best from what we have but this gig I am letting them all get on with it.

Yes I have a couple of the Classic DIs and they have been great. Very versatile.

It varies by venue. some want 2 x 45 mins some want 2 x 60 mins. We have enough to play for about 3.5 hours. covering rock and pop from the 60s and 70s.

Yes the only problem with the wide dispersion and being able to hear yourself more clearly is that you may think you are too loud. The first time I used mine I was told to turn up during soundcheck.

Oh yes. When I started out as an electronic test engineer/technician, that is a strategy you learn very quickly. One other point, if your speakers are active and include DSP, try to set them as flat as possible. There is no point trying to EQ out a peak or trough that is dialled into the FoH speakers. Mic technique. Our lead guitarist can really sing but its like he has had a row with his mic. Never closer than 15cm/6in, we often have feedback issues with his mic (Behringer XM8500).

I have the CQ20 and I found that its best to set the gain via auto and then turn it off once set.

excuse my ignorance but what is a JMJ? I came up with Just Made Jam but it lacks a little in the context department

Very nice spec for a digital system and under 2mS latency/delay.

Well this is a can of worms. There are a few options but some are better than others. 1. UHF The better systems will be form the usual suspects, avoid anything on the 863-865MHz band. It is too crowded and you will get interference. Go for a Channel 38 or Channel 65 system. The drawback to Ch38/68 is that you will need a licence at £75 per year and they re generally more expensive. 2. Digital. The main options are 2.8GHz and 5GHz. These are also used for Wifi and the 2.8GHz is also shared with Bluetooth. Also be aware that there will be a delay/latency. The cheaper the system the longer the delay. These band are both licence free. 3. UHF 600Mhz. There are many systems on AliExpress that use the 500-600 MHz bands but these are illegal for use in the UK although legal in the USA. I am sure others will chip in, just wait a short while.

PM sent.

I would say yes but remember that most phones have a built in HPF. So don't trust the phone below about 120Hz. The iPhone 3,3S and 4 I believe were full range but the HPF was introduced in the 4S. The electret mics used are remarkable good.

+1

I agree, they are reassuringly solid. However I think you meant Tonne 🤣

I love Skynyrd but Freebird is a long long way from my favorite track. With suoer talented guitarists like Skynyrd's, it is OK but any mere mortal axeman cannot do it justice.

For me it is always one more.

Our good friend @EBS_freak is a fount of (Either IBC or ISE information regarding matter wireless but in looking at various cost effective products available it is clear that the majority use the licence free 863-865 MHz band. These are often described as UHF. Many years ago I needed a wireless mic for a speech at an exhibition. Our good friends at Shure kindly loaned me a microphone operating in the 863-865 MHz band. Well it was a disaster. So many exhibitors were using this limited band that the mic signal kept cutting in and out. I checked with Shure and sure enough they, and everyone else around had the same problem. Now an AV or Broadcast exhibition will have a lot of wireless audio and other cr4p flying around. In real life, I did have to change out a Mic using the 863-865 MHz band at the local football club owing to interference from mobile phones. The last round of spectrum auctions put some mobile phones adjacent to the 863-865 MHz band. That was mic was changed to one the operated in a licenced band that unfortunately means an annual fee each July.

On the hill above my old house in Poole is Sontronics. I bought one of their SOLO mics when it was released. I love this mic as it sounded how my voice did when recorded with a really good studio mic. It is more akin to the 945, being a super cardioid but it does show that thinking out of the SM58 box works well if you take the time. Don't get me wrong the SM58 is a fine mic but the design is over 50 years old and what once was the outstanding performer is now amongst the also-rans.

It must have been the pollen count but I was wrong in that it was the 912s I auditioned. I did an A/B against the HH Tensor TR1201. The bottom end of the 912s was marginally better than the HH, but overall sound was probably better from the HH. AS you may remember, in the end I decided that neither were worth the money and the 912 was particularly poor value considering the higher price.

Just to add that the reason the amps cannot reach double the output is that they are current limited. As @agedhorse has described, SS amps are constant voltage, once the maximum current is reached it cannot supply any more current/power. It is more expensive to build a bigger powers supply. At 4 ohms, you are trying to draw twice the current.

When I auditioned the RCF ART 932s, I found them a bit bright, harsh even (I broke my own rule there about using words to describe sound).