Chienmortbb

You would not fry it going to the States, but might if you forgot to change the voltage back on return.

Always look like someone built them in a garage with parts they had to hand.

Has anyone else noticed that many Parcel Services are struggling with the weight of business as a result of the RM strikes?

Sinatra, in my opinion, is very overrated, All the rat pack were better, So many others from that era were much better too.

Those DBS were serious amps, but Eden and others, were exotic being from the States. That is not to criticise Eden Amps in any way.

I was looking at about the same time as @Phil Starrfor me the need was for a mixer that could take everything that a five piece could throw at it, so 4 vocal Mics, two guitar and one bass amp, 5 drum mics plus at leats 4 AUX outputs. For me, that was the Soundcraft Ui16. In fact, I found out after I bought it that the headphone out could be re-arranged to be Aux 5 and 6. So I have 14 Mic/Line inputs and up to 6 Aux outputs. Each output has a 31/32 band graphic and each output has feedback suppression. If I had not needed the extra mic inputs, I might well have gone with the RCF M18. The real benefit of the Soundcraft however is that it does not need an App. Control is via a web browser. I had already had experience of a Behringer XR12 and was not too impressed. That being said, I have and have had various Behringer products in the past. Finally, the Wi-Fi router in ALL these small format mixers are very poor, and the Soundcraft is no exception. The XR12 was particularly bad, but the User groups on all are full of horror stories. You do need an external router. I also use a PC as the main control as it is a rock-solid wired Ethernet connection.

Marshall never really cracked the guitar amp maker amp tag, unlike say Mesa, In fact only Mesa that I can think of has a big foot in both camps.

It makes no sense for G4M to use Eden for its budget brand. I hope they do something good with it although I am not holding my breath. I remember some of those big Marshall bass amps of the past, when I was playing with two too many strings. They looked great. I wonder if Marsgall might be tempted to bring there own new range out.

You know there is a postal strike, don't you? Seriously though. I was quite happy with my BC112 MK3, but having tried the Silverstone, it was clearly a next step development. I am really fickle, and it was the looks that made me think about the change first. Then? Everything clicked.

It us a long time ago since I had a valve head but in my experience a few seconds or even minutes should not be a problem. The old adage comes to mind, if it ain’t broke, don’t fix it.

In my experience, any moulded or sealed plug is a bad idea. If you can solder, use the Rean plugs listed above, if not I will make some for you. I stock the Rean ones.

Well done,

Many times.

PVA wood glues, including Evostik and Titebond don't fill gaps without some sort of filler, like sawdust. Some wood fillers are only designed for surface imperfections, the best, but hardest to work afterward are the two part fillers like Everbuild High performance Wood Filler.

No I wired parallel with the same colours together. Sounds great now.

@Phil Starris right, the greatest care was taken to ensure the integrity of the Amps under test. It has to be remembered that some high powered amps, especially those not using bridging techniques, are capable of over 250v peak-to-peak between the speaker terminals. It is also worth asking the question as to whether you need to use the power amp output to measure the frequency response of an instrument amp. The figures I got at the preamp output was so close to the response at the speaker terminals that it makes no sense checking the sharp end. It seems that, excepting @agedhorse’s patent, most designers content themselves with the preamp section and that sets the sound of the integrated amplifier. Incideny I would love to try one of @agedhorsedesigns and might just start saving up for one.

I am not sure it is a good idea to put third party comments on here about a manufacturer’s reliability. If you buy an Ashdown, and it goes wrong, that is fair game. Remember that staff in a music shop have”skin in the game”. They may be on a on some sort of sales incentive to sell one manufacturer’s products of just have that inbuilt bias that we all have. Sorry for the rant and good luck with your search.

If someone wants to pay postage both ways, I will happily sweep the Sansamp and mark the 500Hz point (or any other preferred frequency).

As usual I have to wait for someone else to put my thoughts into words. You have to have a reference, a starting point. When I first worked as a young apprentice my first job out of training g school was testing RF amplifiers. The equipment and probes we had were far from flat but at the start of each session, each morning and after lunch we would calibrate the special scopes and probes. This told us what flat looked like and we had a reference. That was a big lesson for me. The next realisation in music is that it’s not All About the Bass, or at least not the fundamental. The next thing, the thing we learn at many gigs is that the room is the box that affects your sound more than the little Barefaced, GK, Ashdown or even LFSys (my current squeeze). However if your amp or cab has a baked in sound that is similar to the acoustic qualities of a room, you are in trouble. That is why I like flat. I then use the amp eq, bass eq and multi effects to get, “my sound” but in the end I go into the auditorium and listen.

No,

My point could have been made better, but what I meant was that at practice volumes, our ears do not hear either the low or high-end very well.

I am puzzled (could be covid or my innate stupidity). Equal loudness curves show the way we hear things. So you, or at least I, would expect that a truly flat response in a PA would be the best option, then set the mix to sound good. So why do people recommend boosting the low end by 6-20dB? Is it just that the preponderance of bass heavy, computerised music in recent years. On a second point, the smiley face EQ or Shape with bass and treble boosted is much like the old Loudness controls on Hi-fi amps. These were there because the equal loudness curves change with Volume/SPL. Does this explain why smiley face EQ sounds great at home but rubbish on stage? There is an excellent piece on this, it's quite short, Is Sound an Illusion? © 2009, Les Acres, Rod Elliott

I just sold a Zoom B1ON, plastic cased and absolutely bulletproof. If anything, the newer models are even tougher.

Of course, even the Neutriks are now made in China