Downunderwonder

Except it didn't stop with muting the strings. It could still be the singer's monitor and mic but it's vocal frequencies doing it because it stops when she stops. Must be a right Shirley. HPF aka low cut her mic and see how it goes. Get away from the vocal monitor and any amount less of crankage will help.

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I'm with you in that there's no way I am forking out for new Mesa gear. But I wouldn't go around calling it overpriced stuff I wouldn't buy and by the way I like some other brand better so Mesa can do one I wouldn't buy it anyway. That's not cricket, and completely unnecessary.

One Thousand Pounds, cough splutter, thankyous for the trade might suffice.

I see why they made it 16 ohms. It's so someone can plug a 500w amp into it and not blow it up only turning the amp up "halfway" putting "250w" into it.

You're all over the place in your description of what you are trying to do. Really. Start again with what gear you are currently using and what problem you have that needs a solution. [ I very much doubt that what you have on your mind is going to be that solution. Maybe it can be, but not the way you seem to think it would go ] Over to you.

If the desk has a spare Aux channel you can send anything you want to be sub boosted to that and the aux out goes to the sub. It makes mixing a bit more complicated but should only be the kick and bass in most bands.

It would have to be a raucous church band in a very big church before the Rumble 100 couldn't blow everything up mixwise if you give it some. Dunno what is going wrong between your current monitor and the soundguy. Sounds like he doesn't have the nouse to put it into a line input on his desk. Have a play with the Rumble at home. I expect it can rumble your living room. You'll want to turn down the lows. Probably best to leave them turned down for what you send to FOH. Churches are naturally boomy spaces. Phone vid to FB is unreliable but your wife should be able to hear you.

If the tone is acceptable from the amp the DI out should be absolutely fine for FOH to use. Piezo pickups can give what I would call a fully emaciated tone when the preamp doesn't have the input impedance, as mentioned earlier. Not at all useful without another preamp in between. The sound people that insist on a pre DI are the same ones that want to make it all boom and clank out front in my experience.

What is wrong with the Rumble taking an acoustic straight in?

Perhaps a wonky stage floor. Side by side could end up with a gap at the top or bottom which would look well wrong.

You were selling that amp and cab so cheaply I thought your account had been hacked. Good move hanging onto some stuff to make bass noises.

The ski jumps I have seen are all within the pocket section. In that region the strings have almost same leverage over the neck whether there is a shim or not. But lifting the neck off the pocket at the rear gives that leverage somewhere to go.

0o I dun a b00h b00h.

It calls for some imagination. In engineering it's known as a "free body potato". It frees your mind to examine forces at play. Here it's the neck section in the pocket. Screws pull it down. The pivot points push back as described. The free body has forces in balance. You are then free to examine the internal bending forces that are generated as a result of the external forces in balance.

The standard village hall width is 2 x boom freq wavelength.

The forces induce bending moment in the neck. As soon as the holding down force of the screws is apparent it is resisted at the pocket end and the shim or the neck would be in motion. A beam force diagram for you:

Less bending but still the other end bears all the load at the very end beyond the screws and nothing in between is supported. Someone posted a photo of an end shimmed Wal neck pocket the last time ski jumping came up. It was very clear that most of the pocket never made contact with the neck.

That's because you don't do physics. Turn it all on its head. How does a neck get skijumped? Answer. Because force is applied over small distances over a long time, and timber warps under constant bending input.

Byline. The 80's never die.

Die Hard

If end shims didn't cause ski jumps there would be no ski jumps. It's basic physics and materials science. Wood creeps under constant load. An end shim puts a constant bending force into the pocket length of the neck. Both sets of screws are yanking down and the support is the very end of the neck where it leaves the body, and the shim. You can see the wear at the leaving end contacting the pocket on removed vintage necks. Whether the neck ski jumps is down to the particular quality of the neck timber. That is why it happens to some and not all. Full length shim = no problem. No escape from that maths.

Players often complain the raising guts the lows. That is not what is happening. They are getting a way bigger earful of tone and the same amount of lows. Guitar players are the worst for that.

Way back when... two JBL 15 based PA cabs had 50w a side up them. Vocals and a little bit of doof from the kick plus one guitar mic'd while the other ran an overkill stage rig. Bass was the trusty Trace 250 and 1518. BL had to lean on Mr Overkill to play ball and let the vocals be the loudest thing as they both sang. That way he didn't drown me out, which was the actual problem as the PA kept up with me and drummer just fine. BL was a crafty old dude. He mic'sd his weenie combo into a monster out front.