Chienmortbb

I agree, but Sound Techs vary. I saw a band two weeks ago where the singer (a great singer *) was singing in a band and as the band were introduced, she thanked her Dad on the IPad? Her Dad, a drummer, but clearly no Sound Tech as the sound was shite all night. Sadly I have seen big names with a so-called pro Sound Tech sound shite as the Bass drum was eq'd and compressed to within an inch of the audiences' life. Every time the drummer hit the bass drum, the rest was obliterated for 2–3 seconds. *Aimi Knight, I know he is on Apple Music, not sure about Spotify.

To judge those 15s, you must listen using decent headphones or speakers. As I heard it, the Trace sounded best followed by the Barefaced next and the Markbass sounded like a P bass with 90-year-old rounds on, no clarity at all. I know that Markbass cabs are Marmite. In a cab shoot-out. In consequent years, at the South west Bass Bash, Markbass were voted best and worst cabs. In 2025 surely the benefit of 12s and 10s, in a well-designed cab has been proven. Cabs for Barefaced and LFSys have proven that 12s are the modern sweet spot for bass, especially when crossed-over properly to a decent compression driver horn combination That gives you the benefits of that Trace 15 with the power handling to go loud. Even the simple crossover on the BC110T sounds better than most commercial cabs.

Alex from Batrfaced has a video on three 15” cabs on YouTube . Thoughts?

FFS.

Too few strings and not enough knobs is something we have all been through. I have always hankered after active fivers but two or more basses, great in there own right have been moved on and my last purchase was a P. P/Js have always attracted me but the Jazz pup always sound weak/thin and even adding a bit of blend sounds great at home but sucks, literally, in the mix.

I used to play in the house band at an open mic night. We never rehearsed except alone, at home. Sometimes it did not work very well on the night but hey… it’s amateur night. What it did was teach me to listen and follow on the fly and probably did more for my ear training than anything else, especially when a player asked for bass on o song I had never played! In my current and, the Rhythm Guitarist said when I joined that we play everything exactly to the record. Like scratched record almost every time we played a song for the first time, I would say, “that’s not like the record” In the end I kept my mouth shut. I get on great with the rest of the band but the RG has always been a PITA. He announced recently that he was retiring on health grounds ( heart attack last year, Self inflicted diabetes, and more) with his last gig this Saturday. We had a rehearsal as a four piece last week and it was tight, a lot of fun. Now just the prospect of a one more gig with a below below average RG that cannot keep time and likes to play loud then….relax.

Last night I decided that I needed the string height lowered and as the saddles were bottoming out. So the shim went in again. Then under a strong light, I saw a couple of blemishes in the finish almost like cracks. I traced them back to the screws that hold the individual bridges to the body. I knew when I fitted them that they were bigger than te originals and perhaps I should have drilled them out before fitting? Anyway after a nights sleep I am not too worried as it has taken several months to notice them. I took a shortcut and I have enough woodworking experience to know better. Dunces hat is now firmly backing my head.

If you are going to be a smart arm…slinks off to the corner with his dunces har on!😉

Not much of an update, but I did get the Tone Rider Pickup and installed it. In the end, I took the neck shim out as I found that the saddles were not at their lowest setting. One comment about these bridge per string things is that they come out of the bridge far too easily. It is very nearly there, and I might just take it to next week's gig. I have not changed the decal, I was thinking of painting the headstock as per the Aerodyne. As my name is J Anderson, maybe a Jander in a fender style Font

That alone is worth having.

Does it check TS leads correctly? Most Cable Testers I have tried only cater for TRS.

I have had a Sound craft Ui16 and now have an Allen & Heath CQ20B. Neither has a pink noise generator. It is likely that it may appear on the CQ range in a future update but for now it is not there. While trying to reach the magic £150 on Thomann, I noticed the Superlux Pink Stick, I of course popped one into the basket. It was £33 and I can see it being really useful. It can be used at the console/mixer as a pink noise/sinewave generator for checking the PA/Speaker settings but probably just as useful, for checking individual cables from the stage for checking mic/DI cables with 3 pin XLRs. It runs from phantom power so no batteries needed so will also check for the presence of phantom power. Strangely it only seems to be available from Thomann.

I have had a Sound craft Ui16 and now have an Allen & Heath CQ20B. Neither has a pink noise generator. It is likely that it may appear on the CQ range in a future update but for now it is not there. While trying to reach the magic £150 on Thomann, I noticed the Superlux Pink Stick, I of course popped one into the basket. It was £33 and I can see it being really useful. It can be used at the console/mixer as a pink noise/sinewave generator for checking the PA/Speaker settings but probably just as useful, for checking individual cables from the stage for checking mic/DI cables with 3 pin XLRs. It runs from phantom power so no batteries needed so will also check for the presence of phantom power. Strangely it only seems to be available from Thomann.

Are you just speaking of the IEM mix here? I have always been of the opinion that, in most venues, a stereo front of house mix is only worthwhile at the mixing position and everywhere else is missing something to a degree.

I know some people don’t like Behringer but their analogue crossovers are good. £76 plus p&p from Andertons https://www.andertons.co.uk/behringer-cx2310-v2-crossovers/

I always loved the idea of those Nexus amps but the size is a killer for me. I also wonder why Glenn Hughes went to Orange after using the Nexus for some years?

My lot moan if I am 3 minutes late, they all live eithin 15 mins of rehearsal space, I live 1 hour away.😜

First rehearsal today as a four piece, our rhythm guitarist having retired director ill health. We were tight, we could all hear each other and the singer asked me to turn up. I have not enjoyed myself so much for years.

I have thought about this long and hard and on reflection a GK 15” loaded combo was the worst. I never got to grips with the ass backwards EQ layout could never find the flat setting. It used the internals of the MB200, including tbe ICEPower 50AS2BTL power module. It looked the business but could not keep up with a drummer and guitarist. Needless to say I sold it shortly afterwards.

I was once watching friends band, late 60s or early 70s. The bassist had a pint on his amp, it moved while he was playing. Eventually the pint toppled over, pouring its contents through the ventilation grille onto the hot valves below. Needless to say the glass cracked, the amp stopped working.

There is a sub-forum for Feature Suggestions on the A&H forum https://forums.allen-heath.com/c/cq/cq-feature-suggestions/22

That looks very well thought out. I bought a pair of those 3d printed brackets to add your own wood too. First stomp it broke. 😭

Are you some kind of heathen? Seriously though any jam/ open night mic should have a degree of elasticity in the songs that the jams are loosely based on. On the other hand I have had fun trying to play songs that I only know from hearing them. It is also important to curate the evening well and try to avoid rank amateurs, whether Jam or Open Mic. Most happen in pubs and clubs and you must not drive away paying customers.

I think there are a number of reasons for this, bass was almost seen but not heard in the past, but now even us oldies expect to hear more bass. Just try learning the bass part of a 60s song on an old car radio. To some degree, we have gone power mad. In the 90s, 300 watts was considered a monster. However, you only have to read how many people are using the micro amps, Elf, Gnome etc to gig with. These output about 100 watts into 8 ohms and will keep up with two 30 watt guitar combos and an acoustic drummer. The difference between 90 watts and 100 watts cannot be heard. Of course, some might respond that valve watts were more powerful than solid state, nonsense. Valve amps compress nicely but can only output around 40% more power at maximum distortion, the same as a solid state amp of the same power. So why are all my three amps 700–800 watts? Strangely, I use one of them as a spare that can be used either for bass or PA. The main reason is that they are there, and I can afford them. If we think back to the good old days when guitarists had 100 watt valve stacks, 300 watts were not enough (tell that to your ears) and 300 watts either Valve or Trace was the minimum you needed. However, playing with a couple of Fender Twins, AC30s etc in a pub/club, 300 watts are more than enough. As my cabinet is 8 ohms, 350 watts is comfortable with headroom (remember, solid state amps are usually quoted at 4 ohms. At 8 ohms, they will usually output 50-60% of the 4 ohm power).

Yes C17 is a decoupling cap, forming a high pass filter with R16 removing residual noise. Contrary to popular belief, this is likely to be at 100Hz (Europe et al) or 120Hz (North America, Asia) as the typical transformer/rectifier power supply adds noise at twice the mains supply voltage. It was a rule of thumb when I was working that you did not use a "tant" unless you could not help it. They used to be very prone to going short circuit I believe. https://sound-au.com/articles/capacitors.htm