Chienmortbb

I have had many basses with many bridges and never really felt/ heard very much difference.

Firstly, apologies for any missing capitalisations, my pc is playing up. As many of you will know, I make cables for others and would like to bring a few to sell at the bash. Of course, i pay my bc seller's subs each year, so all is good. If anyone is looking for a specific cable, please let me know, and I will make it and bring it to the bash. Of course, any cables bought at the bash will not incur the cost of postage. I am planning to bring 3, 5 and 6 metre instrument cable made with sommer spirit llx low loss/low capacitance cables. Some with neutrik standard plugs, right-angled and straight, some with silent plugs. There will also be some lower cost ones made with sommer tricone cable. I can also make/bring; mic/balanced cables, wireless body pack cables, shure, Sennheiser, line 6. speakon speaker cables they are not the cheapest, as they are the best quality parts and cables I could find. However, they are cheaper/better than any of the designacable, lynx or any others, of course lynx cables do smell nice. I will post a price list for some of the cables on here shortly and check whether I can offer bash discounts.

I would agree that good acoustic treatment is you friend but there are simple measures you can take. Firstly heavy lined curtains behind the band will improve your onstage sound. If the windows have curtains think about adding aftermarket linings. These will save heat as well so not just a sound issue. Stand in the church and clap. If you hear an echo, that is part of the problem. Acoutic treatments are expensive and not always aesthetically pleasing so drape where you can. If you can get advice from an acoustic engineer, take it but remember that some sound controlling techniques do not need to come from the “PA” budget. There is a. PA shootout at the Sw bass bash in two weeks and there will be lots of gear to look at. I will bring my CQ20 if you want.

You could use the "you" apps that some mixers have, usually designde for a personal monitor mix, they only allow volume adjustments to a limited number of sources/mixes and do not alter FoH.

I think there is some good advice here and the words about acoustically treating the room is key. The problem you have a need for two or more systems. One a simple speech based system, the other one for a band. For a simple speech background music, something like a Cloud Mixer plus amp. These allow a simple system and you can have small control boxes on the wall at strategic points with a mic, aux input and remote volume control. All the EQ and gain settings are on the back of the racked mixer well out of Tommy Twiddler's reach, a set and forget system. Cloud stuff is not as cheap as say Adastra etc. but it is built to last and IMHO, having installed a few systems, bullet proof. It is quite affordable second hand. As for the band system, Rather than the Qu, would the CQ20 work? Cheaper and still has 16 mic/line inputs, 2 of which are Hi-Z and will take a guitar/bass directly. It does need a screen, tablet or computer to operate, usually via WiFi, but you can hard wire those by Ethernet, again to stop Tommy Twiddler gaining access. Speakers, after using various PA cabs over the years, I recently found a good reason for having a narrow dispersion angle, a pair of 60x60 degree cabinets used for monitoring, cured most of our feedback problems. Most places of worship are long and thin so a more directional system may work better for you. Narrow beam speakers for PA are hard to find now so you may need to look beyond the usual suspects. A quick look shows the passive Wharfedale Pro GPL-12HQ.15HQ staring at just under £1000, going up to the (ouch) PD500 range from JBL. Wharfedale Pro are designed in the UK and the staff there are very knowledgeable. Sound Technology, the UK distributor for JBL/Harmon are also happy to chat. Of course the other option is an array but that starts to become very expensive. From standard PA ranges the best you can get at a reasonable price would be a 90x60 dispersion and as was said in an earlier post, it may be worthwhile using satellite speakers placed along the room, this would allow lower overall speaker volume, reduce the effective coverage angle but will increase system complexity, as you will need to delay the speakers further from the front using some type of DSP/speaker management solution. You may be able to do this with the right choice of digital mixer. You can do this with the Qu and CQ mixer as well as with most digital mixers. Sadly you are getting more questions than answers but we are all here to help/confuse you further.

I was not criticising you use of a cab-less solution. In fact I find it quite appealing, but the OP asked about cabs. A good cab can do every style of music but to go silent stage needs real commitment and a good sound tech and as with all thing digital, the wetware is usually the problem.

I was using Private browsing by mistake on my iPhone and that and an easier password seems to work across all devices. I used to be all apple but when my 2007 Macbook pro dies afte only 13-14 years solid service, I could not afford to replace it so ended up with a WINgy 10 then 11 machine. Of course for some things you need a Win PC but for most things I prefer mac book. The piggy bank is bulging with every paid gig although it goes up then down depending whether my anti GAS medication is working.😀

What module is it?

Techflex adds to the weight and also makes the cable less flexible and more difficult to wind. It would also add to the cost. This does raise another question. How many people have had a cable fail through damage or breakage? Some of the early Van Damme cables were very prone to breakage close to the plug. As yet I have never had a cable break using Sommer Cable and Neutrik Connectors but there will always be a first time.

I tend to think that up to 5m, a good general purpose cable such as Sommer Tricone* or Van Damme XKE is fine. Over 5M I would go for Sommer Spirit LLX as the low loss characteristics work better for longer cables. I would be happy to go up to 10 metres for an instrument cable (passive) or 15m for an active bass. I use Sommer cables as they are as good or better than the competition and they are easier to deal with.

I only stock black at the moment but can put coloured heatshink on either end. Is that OK or must you have coloured cable? If so what colour?

IT was my phone on private browsing although why that should make a difference, any offers?

Thanks guys, this is really useful. I usually make cables to order but the last two orders, I decided to make some cables for stock/sale. I made the following: 5m (approx 16.4 feet) right angled connector on one end, straight on the other. SOLD 4m (approx 13 feet) right angled connector on one end, straight on the other. SOLD 5m (approx 16.4 feet) straight connector on both ends. Unsold 4m (approx 13 feet) straight connector on both ends. Unsold 5m (approx 16.4 feet) right angled SILENT connector on one end, straight on the other. SOLD So clearly bassists want one right angled and one straight plug. Of course Strats need straight connector at the guitar end as do some later Fender Aerodyne Jazz and Ibanez basses. Anyway with your input and the evidence of sales, it looks like 3 and 5 metre cables with one right angle and one straight connector will be the stock sizes with the occasional 6 metres. Thanks to all that have contributed and anyone that wants to add anything is welcome to until the 5th Oct.

Did you post on the wrong thread?

Many bass cabs do not have a proper crossover with the tweeter being a token offering. I have seen this on GK, Markbass and I know that many others are the same. I suspects @stevie's cabs from the Basschat 112 to his commercial offerings, the LFSys Monza, Monaco and Silverstone. I would expect the same from other high end cabs like the Kinetic Audio cabs from the USA would also be good but..... as usual you will get a list of people's favourite cab so feel free to ignore me (and them) as you please.

As many of you know, I make cables for people on here. I am considering making cables for stock but I would like to know what lengths of Instrument cables people prefer. I will still be making cables to order but it saves a lot of time and effort making two or more cables of a particular type.

2.4GHz. Not trustworthy on a gig IMHO.

As ever, the first lecture on the Sound Tech Course is obviously Kick Drum and they drop out after that. In saying that I saw a Soul band, 9 piece laat year at my local British Legion. The sound tech used an iPad to mix and was continually listening form all angles and occasionally making small tweaks. Best live sound I have hear except for Black Country Communion at the Hammersmith Odean (can't be assed to check on it's current name).

That SPIRIT LLX really is a nice cable. Glad you are pleased with it.

Many manufacturers use ICEPower, I have seen Powersoft and Pascal modules too, although some do design their own power sections. I used an ICEPower 50ASX2 when I modded my Ashdown After 8 combo, changing it from a 15 watt to a 100 watt units powering the internal 8 ohm speaker.

Not true. Many are rated at 500mA or below and that equates to 2 watts. You have to assume that most reputable manufacturers like Ashdown choose their sockets carefully but many speaker cables will have shite plugs and whatever you do, do not use a guitar/bass lead. The standard Neutrik NP2X is rated thus: Rated current per contact - depends on mating connector A Rated voltage < 50 V So because of the variation in sockets, Neutrik will not specify the current on the NP2X. The locking jacks are rated at 10 Amps but when I asked someone at Neutrik they said that the NP2X is rated at 5 amps max. That is 200 watts at 8 ohms or 100 watts at 4 ohms.

If you daisy chain/parallel or those cabs, you get approx 2.7 ohms, in between the 2 and 4 ohm outputs. Ashdown will probably be best to ask but I would say either the 2 of 4 ohm outputs. The real issue is that the 2x10 will get more of the output and you will not be ablet to get a good balance between the two, any sensitivity differences might improve or degrade the output disparity.

Sometimes I do and sometimes I don't. when one of my basses was active only, I always took a passive bass as backup. That bass is long gone and my current active bass has a passive setting. I have never broken a string and wonder how had you have to play to do so. Next gig is about a mile away so should I or shouldn't I? The answer is yes as I am now wondering about something I have never worried about...