Downunderwonder

Some rooms really bloom / boom all the way to 80hz or more. Tunable HPF working in tandem with bass knob conquers all. One of my rehearsal rooms is gloriously warm and bassy to the extreme so needs a massive trim of everything to bring it back to just "CHOICE!". Then plug in at a jam in a regular room and it's a sorry scrawny mess, oops. More knobs ftw.

I'll bite, iirc 105dB is enough to cause hearing damage over a couple of hours. Thought I'd better check. According to CDC hearing damage possible from 100dB at the earhole after 15 minutes. It is important to distinguish dB at source from dB where listening. The CDC does a rubbish job of that!

You could always swap the cab for something more capable or add another if it turned out to be just shy. Elf power is handy enough if you want to get a bit rowdy with a bigger cab. I wouldn't expect too much out a single 110 though. 300w is a thermal rating. It doesn't tell you how much low end will come out before it dies. It doesn't tell you how much noise it makes per watt either. Worth a shot if you can handle winding up needing two of them. There was a busted Markbass combo in the classifieds for you but I think it may have shifted.

I reckon anyone who does anything notable in the US takes them beyond UK level "sucess" whether or not they were household names at home.

Anything 2x12 can tear your head off if cranked up. As our friend Phil said, either get them pointed at the players' heads and mic'd, or it's IEM time.

There's three piece jazz outfits and three piece jazz outfits all not the same, but sounds promising. Ime the festival backline I thought must have been DI to the front system turned out to be doing it all by itself when I took the stage. Gobsmacked.

100w Rumble is way louder than it looks it could possibly be. If your Americana outfit is no rowdier than an 18 piece jazz orchestra you're good.

Yup. Can't hear XyZ? Turn yourself down. Curious, what amps are being used?

I was only curious about the UK situation. My old band wrote a jingle for a radio station foc. Enjoy your infinitesimal portion of 1p, except I am.not sure you get any as it was in NZ.

I hope that wasn't because they were "beyond all recognition"!!!!

It's working at home so should work equally fine at a gig, so long as the stage sound or FOH doesn't come back to bite you with feedback. I did my level best with filters to kill feedback at home and it was fine. Audition was not fine. Borrow a big amp and have at it before you need to hit the stage. No guarantees but a much better chance of success.

First BC popped a install certificate request which I ignored. Then it wanted to stuff me full of cookies with no decline option. Pass.

Nowt quasi about it.

The Rolling Stones were a cover band initially. Pretty sure they even played plenty when they broke out across the pond.

The link.

Bristol is a pretty big town. Shirley? You want to add Bristol to your title. There's a recommended amp repairers guide in the repairs section. Ripped off the front page of that: I use Soundburn Audio in Bristol (0117 9555766) - a one man outfit but he seems to be able to fix anything. Plus, he doesn't charge you 20 quid just to look at your amp.

Ime it's incredibly difficult to get the bass to feed back even if trying. Yet the first place everyone stares is the bass player whenever there's a problem in the low end. Acoustic guitars Drums The drummer's tummy rumbling. These are all things to check on before the bass guitar.

If you had your own ambient mic and mixer you could do an independent IEM setup and dep away merrily not bothering anyone.

I have been getting this each time I hit the back button on my phone. Is it the site or my browser?

Doubful. If 15dB attenuation can make you deaf to the music you have bigger problems.

How come this doesn't come with the instructions? It should hang over the door at soundman school. It should be a bit easier for OP as it's all stage amps. A radical suggestion. Mic'ng guitar amps only to put them in stage monitors in a pub is loony tunes stuff so have an open mind: Swap the guitar players' amps across so they each monitor themselves 'under' the other guy. No guitars in monitors.,stop whining! Have them adjust each other. Stop whining! What you get is a nice blend of complimentary guitar sounds at half the volume they were before. Drummer won't need to hit half as hard. Monitor volume much reduced, happy days.

No religious intolerance in Dallas, no Sir!

Ideally each stage should be able to drive the next to its maximum with what came down the pipe, with no red lights. That gets you maximum clean headroom. If in practice the total is too much for the speakers to handle then the safest approach is to wind down the final stage that determines speaker volume. Then if it clips the input of the final stage you can hear it before doing any major damage. As regards mics you are on Struggle St obviously looking for maximum gain before feedback. The quieter it is on stage the more you can get away with. Are your singers using their mics properly? 1st order of business. Can you go on a field trip as a band to hear some well adjusted old rockers rocking out with fidelity and modest stage amps? Mic'ng small amps into PA can do wonders for reducing overall volume. You can point the guitar amp up at guitar hero's earhole and hey presto volume is decimated. Most drummers can adjust nicely to no longer having skull rattling guitar amps on stage. Drummer either gets with the program or gets replaced. Not a problem as you'll be getting more and better gigs.

Guitards will frequently sandbag sound check by keeping their volume in check so that they can crank it later. They also don't level out their fx suite for acceptable levels of boost. They use amps that are too big. Then people conplain they can't hear the vocals and you get feedback trying to wring every last dB out of the PA. Tell me you are not up against it from the get go. Singers must use mic distance if you are to get the most out of the PA you have. Enthusiastic amateurs will make you give them too much gain so they have an easy time singing at regular volume and then when they let rip they clip it to get their compression instead of pulling back from the mic. They have to be right on the mic at regular volume. Everyone turn the hell down. Drummer get some lighter sticks. Deafening volume is what is killing live music in pubs.