Chienmortbb

It does and my thought is that the Toe in on one cab is slightly different to the other so that any reflections do not add. Of course the other thing is to angle the cabs down slightly.

LIke Phil I would investigate the PA further before buying a new bass cab. I would not rule it out and remember that the you may need a cab at some point. Post the make and model of the PA speakers and we could comment further. Rereading your original post, you have passive speakers. There is little real work going on as far as development of passive boxes and those that are out there in general will not do what you want. Also look at the amp. If the singer cut corners, and it sounds like he did, the amp just may not be up to it. Spotify tracks are compressed to hell and may sound better than a live performance. There will be limiters and protection circuits on the amp and they may affect the sound.

I was running my CQ20 on Bluetooth and got dropouts, so changed my WiFi on the CQ to 5GHz rather than 2.4GHz. Has anyone run 5.8GHz IEMs or Mics alongside 5.8GHz WiFi? Our singer has just bought (without consultation) a Joyo/Legato system that is supposed to employ Channel Hopping to avoid clashes but I am curious/dubious so want to hear the experience of others.

My question is really meant for discussion about front of house rather than on stage monitors. Apologies for the long introduction. When using our own PAs, most of us will be using the "virtual" point source source cabinets. The type that have a woofer and a tweeter in a cabinet on a pole, with or without a subwoofer RCF Art series etc. Some are now going over to the sub on a stick/tea chest bass systems characterised by the Bose systems that have a miniature line array of multiple small speakers, all mounted at slightly different angles horizontally, allied with a subwoofer. The effect of multiple small drivers, as i understand it is firstly that the sound can be steered into the audience, and that the changes in angle help reduce feedback. Going back to the the two per side speakers, is there any benefit to angling the two speakers asymmetrically to try to cancel reflected waves? What I mean is say to point the speakers at opposing corners but not at the same angle. I will add some diagrams later to explain what I mean.

These settings are going into the mix for our next gig, don't tell the singer though.

I wonder if the dance music and hip-hop generation are pre-conditioned to want excessive low end? Our gig was on Friday so went to our local club. I don't usually like "professional karaoke" singers but this bloke could really sing. In the interval he put on some "backgroud music" that was so bass heavy it would have drowned out the sounds of a full scale Red Army onslaught. When I was being trained as an apprentice on both audio and video, the general rule was to turn the controls until you could see/hear a difference, then back them off a tiny amount. Nowadays the control knobs/faders for the bottom end are rammed against the end stops. It is a good job that most digital mixers use rotary encoders or even touch screens for control.

Most compact digital mixers have a monitoring app. Soundcraft call it Me2 for the Ui series, Allen & Heath have CQ4U for the CQ range. I am not sure about Behringer/Midas or RCF's M18.

We played in a Village Hall last Saturday and I had the same experience.

Sorry no pictures, WE also played the wilds of Dorset last night. The Horns Inn near Wimborne has a band on once a a month. Again pretty full when we got there with folks dining but they soon left ( before we started playing) and were replaced by a few music fans. The Pub clear;y lost money on the gig but the Landlord told us he can "carry" the losses once per month. They have a stage in the garden and we hope to play that in the summer.

One word, Ashdown.

Its one of those songs that I hate, seems to go down well but hey. Maybe its just me.

I did eventually buy the CQ20. The WiFi is so much better than any of the mixers I have used, although the M18 is missing from those I have tried. What has impressed me is the noise....there is none that I can hear. It is also much smaller than I imagined and a better form factor than the Soundcraft or Behringer/Midas competitors. I also love the chorus for bass guitar, in fact all the effects seem pretty good. I also love the Double Tracker and plan to use it on tomorrow's gig. I have not needed the groups/DCA yet.

Very capable mixer.

Well never say never. Why not keep the head and look for a single cab? the 15" cabs will not be to current norms and certainly sound different to a modern PA speaker. A single FRFR cab would suit you well, but make sure it is a good FRFR cab. Some of the "boutique" cabs are not FRFR. Alternatively look at a really good PA cabinet but by really good, I mean quite expensive. I can only recommend what I have used. As that is not an extensive list I won't really say what you should go for but if you change bands, you may regret closing off the traditional back-line route.

I think that is a good mixer and I would not worry about the plastic case. I have had a number of Zoom products. And the plastic cases were not an issue.I wanted more inputs and a stagebox type mixer.

Having gone through a similar quest myself, I eventually opted for the Allen & Heath CQ20. Now like the Soundcraft UI24, it has lots of inputs and outputs and does multitrack recording. Sadly the Ui12 and Ui16 only record the main mix to a stereo pair. You could probably get away with the CQ12 although it does lack a few features. In all fairness, I almost went for the Ui24 but is is really overkill for my needs.

Having dealt with Andertons over several purchases in the last few years, I have to disagree. I have had to deal with their Customer Support dept over two puchases. One returned when I changed my mind and more recently, needed a change of of delivery address. It was so easy even though both issues were of my making.

I once met a girl , easy it is not that sort of forum. Her father was head flautist for the London Philharmonic. We were invited back to her parents house to play some records(vinyl). The HiFi included a pair of Lowther drivers set in concrete on the floor with huge horns going up and over, finally pointed into the centre of the room. The sound from a tiny amplifier was immense BUT not many spouses would accept either the cost, building work and visual intrusion in the lounge. Now apart from reminiscing, as with Bill’s post above, illustrates that you cannot judge a system either by the power or the look of a system.

My recent experience is that, in terms of power, 200-300watts RMS is fine. I will nod to the caveats above from Bill and Phil but just give you my recent experience. Like @Phil StarrI have a thing about speakers and have far too many. Until recently, for vocals only, my band used my Ramsa ( Panasonic) WS-A200 tops. Often claimed at 250watts, a dig down into the spec shows that they weee really rated at 125 watts RMS. The sensitivity is 98dB and they were loud. Of course a big arena would not be ideal for two of these. Other cost over £500 new and are between 20-30 years old. However at 16Kg and with no side handles they are too heavy/awkward to get on stands for me now. Before lockdown, @Phil Starr organised what you could call jam sessions at Corley near Chard and I went to one. Phil was using a pair of old Wharfedsle Pro Titan 312 active speakers plus subs. I liked them and recently bought them. I did not go on spec, just my experience of them with 5 different bands/vocalists. I only looked at the specs recently and they are 150 Watts RMS for the woofer and 50 for the tweeter/compression driver. So a real wattage of 200. For vocals they sound great and are very loud (remember these were the days before exaggerated power claims). These are probably 10 years old but in perfect working order. So what can we take from this? Use your ears not your eyes, either when looking at the cabinets or the specs. Now the caveats, I am not sure I woul put a lot of bass from/kick through any 12” top. Adding a single sub would be fine and it you control the lows(HPF) and the volume you might get away with putting the kick through your choice of tops. Others may have experience here that I do not.

I giiged a MAG 15” combo for years, it was fine then but I would not use it now. The head would be fine with a decent cab. What represents a decent cab is of course a matter of taste.

My band played a new club for us on Saturday, with a dep drummer. We have gigged three times since Xmas, but the last one was 3 weeks ago. This was a cut-price gig and was two 1 1/4 hours sets that inevitably turned into a 1 hour 20 and 1 hour 40. I found out again why we need to play every day. My fingers were raw at the end of the night. It was great fun, though (the masochist in me?). They want us back, but I think I will insist on our normal rate at least. I thought I had a bad night, but the drummer said he found it easy to play along with me. Incidently, I have just bought the CQ20, first outing may be this Friday.

@stevie designed the BC112 and now runs LFSys. The Monaco and Silverstone cabs are the direct descendants of the BC112. One is more than enough. Pair that with most small class D heads and you are good to go.

I remember using a delay on a female lead singer, 20mS sticks in my head but don't take that as any sort of guide. A little compression should not cause feedback unless it is too aggressive and the level is returned to uncompressed peak level. Saying that I am happy to learn from others. Most of us do. Can you send it wet to FoH and dry to his monitor?

Yes but it’s in the head not in the trousers/pants. As others have said, we have our share of those with sub-optimal IQs.

I understand that if @Frank Blank does not attend this year’s bash, the world will end at midnight October 41st.