Chienmortbb

Nostalgia ain't what it used to be. The old stuff my band plays goes down well where we play, and although many of the songs are approaching 60 years old, the younger ones love them too. It is weird, but nice, to hear a bunch of 20 somethings singing their heads off to I Want To Hold Your Hand or Born to Be Wild. I went to see Black Country Communion a couple of years ago and Glenn Hughes' voice was as good as ever. It's a shame that his old partner in crime, David Coverdale, is not the singer he was. IMHO Burn was one of the classic rock albums, in a way that none of the other Purple albums were. Much more drive and superior vocals from the two of them. Now, if people want to pay £250, that is fine. Elton John, Paul McCartney, Cliff Richard all lost what voices they had many years ago, but people still go to see them, so good luck to them.

There are HPFs out there. Sadly, many only for the DIYer. I know my friend @Passinwind is planning a variable HPF. You can also get it on some multi effects units.

You are correct but it is worth pointing out that the amount of fundamental we hear is negligible. Some highly respected cabinets have -3dB points in the 60-70 hz region. I believe that the Thumpinator was originally designed to filter out the FoH low end. In my opinion it is too low for bass although it will help. if you have a variable HPF to hand, try a cutoff of 50Hz at 24dB per octave. You will be surprised how much “bass” is there, whether playing a Low E or Low B. As for a destined 6 string, don’t be silly.

The point is that the sensitivity across the board is -2dB compared to the other speaker. There is no loss of relative volume at the low end, compared to the rest of the audible spectrum. To put it into perspective, at full power, that Gnome would be capable of driving the 12" to 119dB and the 10" to 117dB SPLs. With a 600 watt rated speaker, there would be little thermal or power compression. Surely enough for an acoustic gig?

It's all science and engineering until you start playing and using the stuff, then it's art. Unless you play like me, then is various noises. If it works for you, it is right.

One ting I would suggest is not to get too hung up on driver size. The work that @Phil Starr and I have done on smaller drivers, inspired by @stevie from LFSys, suggests that there is little to differentiate between some good 10s and even the best 12s. If you look at the LFSys range, for example, there is only 2 dB difference between the 12" Monaco and the 10" Monza with the same frequency response. I believe that @stevie has been investigating other drivers. Now 2dB between friends is not a lot, but you may find that on an 8 ohm speaker a Warwick Gnome would not put enough out for you, but our recent amp shoot-out suggests otherwise.

I was going to say that, but then I thought I should do some more listening, even recording but the main thing is it all seems much clearer than the B1-Four. I am struggling with a bug, but will try to get some recordings comparing the two units, either Tomorrow or Friday. Added Monday 30th Still got the bug, so don't hold your breath.

Well, I did it last weekend. Gigged the B2-Four and it worked very well. I have copied some of my most used patches from the B1-Four and added a version of @JohnDaBass B1-Four patch for Free/Bad Company. I found I used that one a lot. Thanks @JohnDaBass So impressions at a gig? The B1-Four has possibly the best onstage tuner with an LCD and an LED display. However, even without my glasses I could see the B2-Four Tuner without difficulty. The traditional foot switches are a step-up from the B1 ON and B1 Four as there is no chance of accidentally selecting the Tuner or moving/selecting the wrong effect. Most of the time I use about 6 patches in this band and as you have three instantly below your feet, it seemed fine. The fiddly switches to move the patches up one or ten places were OK. Yes you had to watch your toes carefully, but I never had a problem over the two hours. Not much else to say, I am still adjusting volumes on the patches transferred from the B1-Four to the B2-Four, but there is a knob on the pedal, so you can do it on the fly.

You do not mention what amp you will be using? However, some of the modern boutique cabs will give you what you want in a one cab solution for a similar, or lower cost than the two 2x10s. While I still lust after a stack, a throwback to the days when I almost played guitar, I have never needed a second cab. My current cab is a LFSys Monaco, 600 watts at 8 Ohms and more than a match for both my amps at 350 watts into 8 ohms. Look at the Monza for their range. Others with more experience of other makes will surely chime in shortly. LFSys Product Page

DI just means Direct Injection to differentiate it from a mic'd signal. It does not specify a level.

Says it all!

I have just bought two sets of Newtone Strings, and I am loving them. Not over bright when fitted, to my ears they have not changed in tone since I fitted the six weeks ago (4 gigs and 2 rehearsals since). They have round cores and seem to have a lower finger noise than most rounds.

If you know how long you want the cable, I can make you one. I have the connectors and cable in stock.

Strings could be a problem, but I suspect it is the amp. That is a tiny guitar combo, and it is unlikely to reproduce the low notes well. So change the strings, then try a different amp.

I might book a holiday that week. We always seem to have good weather then.

Maybe a different coloured tape around each mic?

I am going to agree with @BigRedX in most ways. First if you do not have control of FoH, choose either a passive DI or active one that runs on battery. I use two of the Orchid Classic DIs and they have either battery or phantom power options. I also use a DIY box using two budget😀Sowter transformers that were £45 each for guitars on occasion. Those Sowters are great but will saturate at about +3dB. A good DI Tx will not Saturday till +25 dB but will cost an arm and a leg. It is no fun being a one armed monopod. With regard to the EMO DIs, there were really well engineered and had a price tag to match. They would have had good quality transformers. Laterly the brand was bought by those rascals at Canford Audio and I have no knowledge. However looking at the specs of the current offerings, they will cover just about any eventually. https://www.canford.co.uk/EMO-PASSIVE-DIRECT-INJECTION-BOXES Most of the “budget” DIs will have a transformer that cost about £3 retail and has bit a low saturation point and a poor LF response. Absolutely sh1te for bass or keyboards. Of course the way Keyboard 🎹 players sometimes like to take over out part of the spectrum that might be a good thing. A good DI transformer will set you back £50-70 from Sowter, Lundhal, Jensen or OEP. That plus a box, decent connectors and they labour suggests that anything passive under £100 should be approached with suspicion.

Well the G4M box is passive, so there will be some signal loss. The Orchid should be OK as the OP has said he is feeding a mixer. As long as it has phantom power, he should be OK.

DHL are awful Tracking next to useless and drivers just don't turn up if they feel like it. Thomann are registered with HMRC. That means they take the VAT and pay it to HMRC like any UK business. One other issue with Thomann, anything with a Wall Wart power supply comes with Shuko plug and Thomann provide an adaptor. Great except the adaptors are quite large and you cannot always fit into mains extension leads with other plugs.

Correct Bill. It drives me mad that because the rest of the band do not understand, I have to treat them like babies. One of my favourites? We were having feedback problems, The singer's solution, "try a different mic cable". I have tried to explain that mic/monitor positioning is that problem. Two of our onstage mics are cardioid and two Super cardioids. The concept that they reject unwanted sounds from different angles blows their tiny minds.

I think you are being a little light-hearted. #Seriously though, your humour is even more impressive as English is not your first language

It is like a lot of HIFI terms. Ill-defined, and not too helpful. A bit like heft!

No, many makers exaggerate, take Behringer/Bugera. They make good stuff but 2000 watts? There are people using ICEPower modules that are quoting between 50 and 100 watts more than ICEPower quote for the modules.

It is complicated, at least to the layman, but there are different ways of measuring power in speakers. At the basic level, the RMS voltage across a speaker multiplied by the RMS current through it will give you the AVERAGE power. Don't go on the HIFI forums, though, as many try to promote a different "average" power. The term RMS power is not really correct, but is better understood than average power. Of course, it is around 50 years since my college days. I have never seen a satisfactory explanation of PEAK, INSTANTANEOUS or any other bogus power rating. The AES Audio Engineering Society did create a standard that some driver manufacturers use, but I don't have enough knowledge of it to comment except to say it usually gives a higher figure than RMS. Bill has a good point though, take 6dB off any peak figure, and you may be close to the real SPL.

@Bill Fitzmaurice summed it up pretty well. Anything in the 2-8KHz region is best served by a tweeter, as beaming of 10-15" drivers mean the only people that hear the sound of the bass are straight in front of it. If that is the bassist's backside, it's all lost. A well-designed cab with a tweeter will not sound harsh, and cabs cannot hiss, only amps and pedals can hiss. Any bass will sound better through a properly designed cabinet. IMHO, cabinets should be substantially flat and if I want a particular sound I use EQ and/or pedals. This is true when using all types of basses, flats or round wounds.