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Chienmortbb

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Everything posted by Chienmortbb

  1. Chienmortbb
    That once made me take an SB2 out of my basket, good news.
  2. Chienmortbb
    I have heard of a balsa ply where the ply are arranged edgeways. Apparently very strong and light.
  3. Chienmortbb
    Yes indeed. One of the reasons I retired/was made redundant.
  4. Chienmortbb
    The Ui16 is a 16 input mixer, of which 12 are mic/line. It is controlled either Inputs 1 and 2 can be set to HiZ to take a guitar or bass directly, and there are numerous Digitech effects built in. Each input has Parametric or simple EQ, HPF, Compressor, Gate, Delay, Echo, Reverb, Room. Both Main L/R outputs and the 4-6 Aux outputs has multi and graphic equalisers plus feedback suppression. Features 4 Aux buses, they can be increased to 6 by losing the headphone facility. Control is via an any device that has a web browser. No special software or app is required. Soundcraft Say: The Ui Series mixers feature cross-platform compatibility with iOS, Android, Windows, Mac OS, and Linux devices, and can use up to 10 control devices simultaneously. In addition, the Ui12 and Ui16 each feature built-in HARMAN signal processing from dbx, DigiTech and Lexicon, including dbx AFS2, DigiTech Amp Modelling, and more. Both models feature fully recallable and remote-controlled mic gain and phantom power, along with 4-band parametric EQ, high-pass filter, compressor, de-esser and noise gate on input channels. 31-band graphic EQ, noise gate and compressor on all outputs, plus real-time frequency analyser (RTA) on inputs and outputs. Built in are three dedicated Lexicon FX busses: Reverb, Delay and Chorus. In addition, mixer controls include Subgroups, Mute groups and View groups, among others. The Ui Series mixers feature full Show/Snapshot recallability with channel recall safes. while security lockout features allow customization of device access to only specific functions and mixes if needed. Both mixers also offer independent network interfaces on board for simultaneous control by Wi-Fi and Ethernet, plus a floor-ready rugged chassis for live applications. The Ui16 boasts eight XLR combo mic/line inputs, four XLR mic inputs, two channels of Hi- Z/instrument inputs, as well as a stereo RCA line input. A 2-channel USB media player is included, along with four balanced XLR Aux outputs, two quarter-inch headphone outputs with level control, plus balanced stereo XLR and quarter-inch main outputs. Two-channel USB audio playback is compatible with MP3, WAV and AIFF formats, and 2-channel USB Record direct-to-memory devices functionality is possible as well. Features Tablet/PC/Smartphone Controlled Digital Mixer Integrated Wi-Fi Cross-platform compatibility with iOS, Android, Windows, Mac OS, and Linux devices Use up to 10 control devices (tablets, phones, PCs) simultaneously Legendary Harman Signal Processing from dbx®, Digitech®, and Lexicon® Fully recallable and remote-controlled mic preamps 4-band Parametric EQ, High-Pass Filter, Compressor, De-esser and Noise Gate on input channels 31-band Graphic EQ, Noise Gate and Compressor on all outputs Real-Time Frequency Analyser (RTA) on inputs and outputs 3 dedicated Lexicon® FX effects processors: Reverb, Delay and Chorus Subgroups, Mute Groups, View Groups, and more mixer controls Show/Snapshot recall with channel safes and security lockout 2-channel USB audio playback and recording Password-protected Access limitation system Sync ID (multiple browser windows staying in channel Sync)
  5. Chienmortbb
    Does it change if you change form FET to Tube (I thought Laney were a British Company)?
  6. Chienmortbb
    Glue is best used sparingly, and the staples would keep the cabinet shape while the glue dries. The big problem with Trace was their insistence on using MDF for many cabs. Now MDF is second only to Concrete as a cabinet material, but they have similar issues,,, MASS. As heavy as funk for a given thickness.
  7. Chienmortbb
    If there is noise, it will show when treble is raised.
  8. Chienmortbb
    @agedhorse Thank you for posting that snippet of the Standard. It is now close to 15 years since I retired, and with retirement I lost my access to the Standards Library at work. I should also confess that whilst Audio was the driver that led to my career in Electronics, I spent just about all my working life designing and testing Video products. While having the basic grounding, I don't have the earned experience that you have. In case anyone wants to see the whole standard, it is 425 Swiss francs or approx £400.
  9. Chienmortbb
    This was my reasoning too.
  10. Chienmortbb
    This is an area where a little knowledge is a dangerous thing, and I admit to being an enthusiastic amateur as far as loudspeakers are concerned. However, I was an Electronic Engineer by profession. The speaker is being overdriven NOT the amp, that will still be outputting the same signal. The amp will clip if the input signal is too high, within limits the speaker will not affect. As the speaker exceeds Xmax, it will become non-linear as the coil is outside the influence of the magnet, and you will get compression. Push it too far, and you could destroy the speaker (XLim or XDamage) I used a 200 watt speaker from an 800 watt amp on Friday for two hours, without any problem. The term "True RMS" was coined for describing the readings of voltmeters and multimeters, as the early digital voltmeters could only measure RMS voltage for a single pure sine wave. Anything else would cause an incorrect reading. True RMS meters should read accurately, whatever the waveform. True RMS is not a term I recognise in amplifier specifications. In fact, to be a pedant, there is no such thing as RMS power as RMS voltage x RMS current gives average power (although some in HIFI circles dispute this definition of average power). To understand why you have to know what the terms RMS means, not the literal Root Mean Squared but the practical use. The RMS voltage is that which causes the same rise in temperature, in a given resistance, as a given DC voltage. So put 120/240 volts DC across an electric fire element, and it will give out as much heat as if you put 120/240V volts (RMS) AC across it.
  11. Chienmortbb
    I have a long lead with several sockets at 1 metre intervals. I lay it across the back of the stage and everything, including the PA, is run from it. It is rated at 13 amps and that gives us a limit of just over 2900* watts, but we rarely use the big PA and even that is within limits. It avoids this type of problem. *Calculated at 230V ac. In most places the UK voltage is still around, or above 240V ac. so clsoefr to 3100 watts.
  12. Chienmortbb
    Would fit an LFSys Monza fine! I don't need a new head, but it would go nicely on my Monza.
  13. Chienmortbb
    Fill your boots. It's your thread and if people disagree they can look away.
  14. Chienmortbb
    Interesting thread Phil. It begs the question whether the speaker per side setup that we all tend to use is ideal. Would some venues be better with just one? As most venues are unsuitable for stereo, one well-placed, high spec speaker might be more than adequate. The power alleys and valleys at the low (sub) and could be improved by putting two speakers adjacent to each other in bigger venues. As many know, I loathe the "tea chest bass/sub on a stick" systems that Bose made famous, as I have yet to hear one that sounds good (I have heard LD Systems, Bose, Yamaha but still to hear an RCF EVO system to be fair). However, they almost act as a point source, and that has benefits in terms of coverage and feedback reduction. As for adding subs to a 10" speaker setup, I am starting to come to that conclusion myself. The RCF ART 712s that I auditioned recently could not handle any real low end and though not in the class of the ART 745/945 made a good job of everything above 100Hz. They would still need a sub to get a clean undistorted low end. I bought a pair of Wharfedale Titan Active 12s from Phil a while back and in all honesty, they would do the same job as the 712 if crossed over to a sub in most situations. AS Vocal only, as they are currently in my band, they are more than adequate.
  15. Chienmortbb
    We played on Friday 29th, not expecting a big turnout, and the place was packed. W next gig on Friday, but |I have been to other gigs that have also been busier than expected.
  16. Chienmortbb
    Have you heard or played through every other amp?
  17. Chienmortbb
    That sounds like a plan.
  18. Chienmortbb
    Don't remember that one. Was it something like if you touch the brown and blue wires at the same time, your knickers will be twisted?
  19. Chienmortbb
    Why the downgrade to Markbass? Seriously though, Ashdown service is superb, Markbass almost non-existent. I would stick with Ashdown.
  20. Chienmortbb
    Thanks for this review., I was interested in this amp and wondered whether anyone has also looked at/compared the current MiniMAX Mk2 to see how similar or different they are.
  21. Chienmortbb
    My first bass was a Squier P bass, almost certainly a Japanese one, before I knew the value, always loved the Thunder 1a. I but I got one and sold the Squeir for stupid (cheap) money. The rule was always one in, one out. I am tempted, but have five basses at the Mo, and two of them are project basses. GLWTS if it has not sold already
  22. Chienmortbb
    How was delivery. The store shows strangely long delivery times.
  23. Chienmortbb
    I had the BLX130. Same basic unit but, as I understand it, had an extra pair of output devices allowing it to drive an 8R extension cab. Otherwise, it was the same beast. I think a new version of it would be interesting, but I am not sure whether anyone could explain how the cabinet design worked.
  24. Chienmortbb
    There are so many things to agree on and so many things to argue on this thread that I am bowing out. Try it and let us know your thoughts afterwards, It will be fun, and we can then start "discussing vigorously" again.🤣
  25. Chienmortbb
    The problem with that is that if a cab is louder, it will sound better. All things being equal, the 4R cab is likely to "win". Of course all cabs are not equal when it comes to sensitivity, so it is possible that an 8R cab will "win" the sensitivity battle, but the 4R cab has a built-in advantage UNLESS you are using a valve amp and setting the transformer taps correctly. You could of course use a sound level meter and adjust the outputs to be equal at a given frequency, but that brings two unknowns into the project. So just try it and publish your thoughts. It will not be scientific, but it might be fun.
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