Chienmortbb

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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).

I woke up from that dream to find the dinosaurs still in the majority.

It’s true that at the extreme, the voltage may drop a little but in a well designed power supply, it will only be at very high power, close to the rated maximum. Sag is really used to describe the phenomenon of older valve/tube designs that used thermionic diode rectifiers. In this case the voltage drops considerably rather than a small percentage. It was once thought to be an intrinsic part of “tube/valve sound”.

Not only that but the microphones are electret and need a voltage to operate. Phantom power would be too much, you would need to step it down first to a few volts.

However the OP said he would only be using one or the other. In addition many Solid State amps are 2.67 ohm stable with some stable down to 2 ohms.

Keyboard players playing low down and dirty? Not if I am playing. I have enough trouble with the Rhythm Guitarist using all six strings and extra bass. It may work on a recording where each part can be finely controlled but even if she can manage it, synchronisation and spetral overload would not sound nice together. Either walk or sit the song out until it is resolved.

It won't be any louder if they are measured the same except the valve amp will give the same power into 4 or 8 ohms as long as you select the correct impedance.

No WiFi, Ethernet only and only two effects busses rather than the four with the 18 and 20. The limited number of inputs may or may not be an issue. It was for me.

I saw a band in a pub that did exactly that. spent 30 mins getting their IEM mixes right and walked out for a few seconds to hear FoH. Worst sound I have ever heard in that pub from the best equipment.

I cannot comment on the Zoom but owning a CQ20, I would say go up to the CQ18 or CQ20. The CQ12 is a bit limited in function compared to the other two.

You cannot get a better mixer so you have a good starting point.

I suspect that would be the better option. I have been considering going to 8s for the tops as currently we only use the PA for Vocals. Using 8s or 10s will extend below the crossover point for a sub a long as you get a good 8/10 and not many will argue with the QSCs.

Mark Bass Cabs are a bit Marmite. In the SW bass bash, in consecutive years, They were voted best and then worst in a blind shoot out between several cabinets.

e aware that everyone else can hear you better, especially when I play a wrong note.

Certainly doves.