Chienmortbb

Dammed smell check. Of course, it was a Smelleycaster copy.

Yes, there were not well loved but in one band, the lead guitarist had one, together with a cab made from an old wardrobe. He used a stray copy and got a wonderful sound from that setup.

Another cable, another easy transaction. 🙂

I have my iPad attached to my mic stand. With the slider is big enough, to grab quickly if I need it, but I fully understand the comfort a knob can bring.

EM as in Electro Magnetic?

I used one a few times before buying the Soundcraft UI16. The WiFi was truly dreadful, letting go several times during gigs. I also liked the fact that no app was required for the Soundcraft. In fairness, the UI16 was only marginally better on WiFi initially. I found that later that the many devices are set to search for the strongest WiFi signal with internet connected networks prefered. When you realise how flexible these mixers are, it makes no sense using an analogue mixer. My firts analogue mixer was a RamsaWR-S4412 and it blew my mond seeing all those controls and what the hell was an Aux bus?

If I had the money or political inclination to send my kids there, I would want to know why they a throwing £thousands in the skip.

I can do them for you. However, you will be fine using the 2 way connectors.

Bill is right (I used Duck Duck Go but use Google if you must) However this has a lot to do with dispersion. Your 2x12 will be throwing plenty of volume and bandwidth out into the room, but you are probably standing in front of your cab with your head above some of the higher frequencies of your bass. This is why a proper mid/high frequency driver and crossover is required. Then you hear more of what the audience hears.

You can do that on the Smoothound.

In most cases the radio system, if well-designed, will stop the high-end roll off from cables. This is why many have a cable compensation function, a Low Pass Filter. However, not all cables are created equal and the roll off from cables vary with length and quality. So fixed compensation may not be ideal. To argue against myself, for most people playing bass, the cable will have little effect on their tone. Then the reliability of either a cable or wireless system becomes the most important thing.

I had some Van Damme some years ago. No matter what connector I used, the inner broke about 4 cm from the end of the plug on a regular basis. In the end I used it for pedal board patch cables as they did not move. Since then, I have only used Sommer and Klotz. I recently had to repair a cable with Van Damme XKE cable, and it certainly did not persuade me that it was worth changing to.

Line Micropone.

Speaker

Mains Cables

Instrument Cables In the early days, guitar cables were made from simple coaxial cable and basic 1/4" or 6-35mm diameter phone plugs.

I have been thinking about this for some time. There is so much hype in the worlds of Music and HIFI, and it is sometimes a waste of time trying to push back against the bullshine and marketing, but I have decided to put some of my knowledge (probably including my own prejudices) down to help others. This first post will be updated when required, especially if someone asks a question that I have not already covered. So check back here occasionally to see any updates. Types of Cable As musicians, we are likely to use some or all of the following cables on a regular basis. Instrument Leads - usually using a coaxial, screened cable terminated with 1/4", 6.35 mm phone plugs at each end. Mains Leads - usually three core with a UK/SHUKO plug top at one end and an IEC C14, 10 amp connector at the other. Speaker leads - usually a SpeakON connector at each end. Legacy products may have 6.35 mm phone plugs. Microphone/Balanced Leads to connect the various parts of the PA and rack systems together via 3 pin XLRs. There are many leads/cables used, but the ones noted above cover the ones musicians use daily.

Call Trevor at Sontronics. He is very helpful.

Of course, you are correct. I was merely pointing out one of the benefits of an analogue system. There is an argument that A-D/D-A conversions degrade the sound and while that might be true in the strictest sense, I doubt it is audible.

It was quite common in the coiled cables in the 60s/70s. The green goo will be to do with the formation of Copper Oxide (Verdigris). Any uncoated/untreated copper will go a green/blue colour, but why it turns gooey is beyond me.

Of course the delay AKA latency is negligible with analogue systems.

Try the Halo https://www.sontronics.com/halo

I prefer the 60s original.

Last time I was looking, every bass body was out of stock.