Chienmortbb

Yes, the BDI21 has a mid-suck if you have the Drive and blend knobs anywhere but fully anti-clockwise. The sweep below shows a 5-6dB suck centred on 700Hz will all controls at 12 o'clock. It is worth noting that you need to up the level; control to get to unity gain, that is, when the output is the same level as the input. If you do turn off the offending controls, with all the others at 12 o'clock, except Treble backed off to 10 o'clock, you get: A very nice flat DI with a built-in HPF. Of course, there is a modification to get the mids back, and I will be modding mine soon. I will report on that later.

Compression alone cannot remove harmonics or what the OP called overtones. In fact, as they are lower levels than the fundamental, they are more likely to be accentuated by compression.

The sound of Geddy Lee's bass, he might as well be using washing machines.

Why can you make this assumption?

As some have said, I bought most of Dave/OBBM's stock when he retired and have been making cables for folks on here ever since. Happy to quote for you. I will soon have a website running, but in the meantime just DM me.

Have you asked Ashdown about it?

To be fair, they are all @stevie's work. As I understand it, a few people were asked to test early versions, and @Phil Starrordered one early on. However, all the clever stuff was @stevie

With the hatch varnish, thin it fit the first couple of coats and it will penetrate the surface of the ply. That should make it tougher.

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.