Downunderwonder

There was one of the Ashdown combos with the sub generator left on when I plugged in at rehearsal. I thought it was broken. Switching it off restored it.

What about the older Landmark, RBI/RPM flavour? 600w of either, or blend.

Depends what you want to hear, what the synth likes for an input and what comes put of it. No easy answer. You might need 2 compressors, you might not need any. Best way to find out is plug in and play at gig volume.

Easier to relieve yourself of gas by swapping preamps.

I look at the size of the speaker and the price and divide by 10. Someone could come up with a formula with fudge factors built in so High St Price = P £ Claimed max SPL = C Speaker size = S in inches for the main one. Actual maintainable SPL = CxP/BxS/15×F Where B and F are fudge factors to arrive at real world numbers. They could be variable by brand.

I think that is because a DB is an accident waiting to happen just sitting there. DB was never meant to be strung up with steel strings. The ratio of wood to tension is kept marginal to leave it able to be picked up and still have some timbre.

I am thinking of the need to jump into other offers of work at some stage. Carry the big stick and speak softly for the meantime. I think both bands are pretty low key for volume requirements but it's good to be prepared. One time I took a total overkill rig to a trad celtic jam, just on the off chance that it might go off later in the evening as it was a farewell do. It so happened that there was a band booked for the later part of the night and they were sans bassist so I got a gig as well!

Comb filtering hell out front unless it's GF.Dead style separate stacks for instruments. As the subs are 3 and the the tops 2 per side I am calling nay, a thousand times nay!

Doubtful. Convenient to the extent that plug and play is easier but you have to spend big to get something that will carry a gig. Plenty of 2nd hand amps and cabs that can carry a rowdy gig by themselves if required.

I bumped your other thread. Best carry on there and let this die.

Jeebers. Talk about paralysis by analysis. How loud do you need to be? Pick one and look at the rest.

It will work. Will it work for you? Dunno. One thread per rig selection works best.

which will shift all around depending on the impedance on the low side. I would not like to predict the shift in relative amount of power sent to the horn between having all three woofers to just one. It will do bad things to the tone or bad things to the horn or both. Safe thing to do is the more ergonomic 310 with tiny footprint the way MB should have done it in the first place.

Good luck figuring out all the bits to make it switchable. It's a proper horm so it must have a proper crossover.

Think of it as a smaller MB200, with overdrive, but with less EQ.

Serimousely? Fullerton is home town of one of Fender's factories that makes the fancier ones.

At least Maddy shows up and dances! People pay big bucks to go to holograms of ABBA, so low is the bar these days.

There are complaints, from folk that seem to need a metric buttload of power. I think many don't get the concept of a clean master vol with a dirty input control that compresses as it gets hair on. It is rated for a clean 200w without compressing. I haven't heard anyone claim it is false with any credibility. It would be a simple job to put an oscilloscope on the output and see what it is doing at the bleeding edge.

That works if you can find the right size boxes 1+m long for the synth.

Pineapple boxes would make great end caps. Those things are made to pile high with half a tonne on the bottom one. The guts could be carved from anything with the 1m length in it.

If I am reading it right the drummer has rejected the IEM after the one trial gig last Saturday? That's hardly a fair effort to get them dialed in. You will need the guitarists to level out their fx and have consistent playing dynamics soft to loud that everyone else can play to without any knob twiddling. Then you will be in your happy place.

Options. Reduce gain on his mic. Reduce his monitor volume. Reduce the amount the mic picks up of the monitor relative to drummer vocal. Is he getting right up on it? Unfortunately putting the monitor up higher to allow it to be turned down also puts it closer to the offending mic. Directions, reflections, and the pickup pattern of the mic are what you have to figure out. I think I would be sacrificing some stage area to put the monitor directly behind the drummer so he is a big meat baffle for the mic. Juggling gain mixer to FOH like that doesn't help feedback per se. The juggling needs to happen at the mic inputs. Anything you can do to get more of what you want to go into the mic with less extraneous racket allows higher gain on that mic. Dialing back the whole band right back on stage and putting it all through the PA would. Guitars on IEM for the win? Since you are good with IEM the big thing you can do is trade bass cab for FOH sub and put very highpassed bass in monitor for drummer. I dunno, they claim to want to sound good. Somethings got to give for that to happen.

That was Trace Elliot's ace in the hole for donkey's years.

The best box job is done by cutting down a superior shipping box that is free. Bike boxes, car windscreen boxes are good. The ones in stationers are cheesy.