Jack

Just be wary of making sure that the qsc stay updated, keep on top of the firmware! That aside, they're fantastic. Either as a 'bass amp' backline or just as a wedge.

And then the 4 string version of the 5 string Stingray was called the Sterling. That's the USA Sterling mind, not the Sterling Stingray range, which aren't built in the USA.

Big Poppa' seems to want to put his name on everything, even if it does confuse people. EBMM stuff can be impossible to fathom. There was a Stingray 4, that led to five string Stingray, which had different electronics to the 4. So they made a 4 string version of the 5 string Stingray, which they called the Sterling. Then, when the time came to start building instruments to overseas they called them all Sterlings. So you can have a USA Stingray, or a Sterling Stingray. And you can have a USA Sterling, but there is as of yet no Sterling Sterling. Pretty much their first overseas instrument was essentially a passive Stringray, they called it the SUB. They now use the SUB name for the whole line of cheapest basses they make. They are not passive.

Thee amp is probably adding in quite a bit of its own flavour, don't be fooled by the knobs being at noon, that doesn't mean much. Plenty of people using pa cabs as stage amps. I've got a pair of QSC K12.2s, people using everything from the budget to the esoteric.

After years of cheap ones I bought a K&M (in my case a 25600) a few years ago and there's just no going back.

This is timely, thanks. Subbed.

I know, right! If the Behringer ever let me down I'd move to the Allen and Heath stuff, which has some similar functionality, but the Behringer lives on and I don't care enough to upgrade.

I'm not sure it's quite what you're asking but our drummer owns the RCF 712 and as a band we own the 732. As pa cabs they're not too different in sound (maybe I'm deaf) but the 732 are louder. As a bass stage amp they're a world apart, much more usable bass in the 732.

That's the problem though, if it has one knob labelled 'compression' you might get the best out of it, but its best might not be what you're looking for.

That'll teach me read and post after midnight.

Update the firmware. 👍

They sound like Comic Sans! Actually I've heard they're great amps. You can occasionally spot one on stage right next to Aguilar gear.

My first thought too, but it's only 2U high. I think you're right! Cheers man.

Look, if I was Steve Gordon I wouldn't spend any time at all thinking about gear. It must be difficult to concentrate when you're married to Skye Edwards. Unfortunately for me, I'm not, so I focus on the gear. What's the thing underneath the Aguilar head and above the cabinet? Whole blinkin' concert and you don't get a single good shot at it! Notes: Here's the concert Placement and layout suggests that it's likely either a channel strip, compressor, eq, or wireless unit? What else would be up there with the amp head? I can't any other photos of him using it, so maybe it's just backline provided? Thanks all!

Yes I have used the mixer as an interface at home before. I can confirm that the XR18 works just fine as an interface on Debian based linux.

My main desktop is linux Mint and I also have a pretty powerful gamin computer that runs Windows 11. There's plenty of powerful computers in the house to do the editing! When we have recorded gigs before we ave used the mixer but into my guitarist's macbook. That in an of itself is pretty low spec and seemed to manage. I've got to say I'm generally pretty techy, I have worked in teaching using computers my whole working life and now I'm an e-learning consultant. I've built all my own computers for years. The laptop was bought from a computing forum that I'm on specifically to live in a gig bag and go to corporate gigs in which I don't necessarily trust the wifi. I had wanted to keep this is Windows as I might not be the one using it to mix at a gig, but that's never happened yet and the X Air Edit app looks the same once you're in I suppose. I had assumed that setting up Ardour to test this at home was difficult because Ardour is complex, perhaps it's because the XR18 is a pain to setup? I think I've got it cracked though, with all of the usb outputs just taking a post-gain but pre-everything-else output. I think I just need somewhere to 'put' them. I think. What other problems have you faced? This is likely my fault for describing the laptop as 'aged', which it isn't. Sorry. The laptop is maybe 4 years old and it has a 7300U, 8GB ram and a 256GB (sata) m.2 ssd. I guess I could go higher on the ram or even install linux. Ok. In business speak I have some actions to take from this meeting. Thanks all.

I've said a couple of times that I love the Shure and I've only ever had one dropout with mine. But also I've had (in order) the Line 6 G30, Smoothound and Line 6 G55 and they've all been more or less fine. I only went to the Shure as at the time it allowed me to have one system for both my rack helix and my pedalboard helix stomp.

Hi all, Quite a specific question, but one that I've been struggling with. I want to get better at recording gigs, it's something that I've done a few times but never particularly well or properly to be honest. At home, both me and the guitarist have powerful desktop PCs, I use Ardour and he Protools so we are sorted for the mixing and mastering side of things after the gig. What I need is a way to record on my aged Dell laptop with only 8GB ram. Now most importantly this laptop runs some arcane, totally unfathomable and unusable software called Windows, and as such I have no idea about any of the programs that I can use on it. What's going to be the best software to use to record 15 individual tracks coming 'out of' a Behringer XR18? 'Best' in this case means 'lightweight and free'. I don't need any editing capabilities, I don't need plugins (not that I could on such a low spec machine), nothing. I just need the ability to write 15 high quality stems to the ssd which I can then move into the other DAWs for mixing after the fact. I can keep using Ardour I suppose, but I'm always worried with such a complicated piece of software that I've missed some setting somewhere or not pressed record properly. Also, even with all of the plugins and everything disabled it can still be quite resource intensive. Any thoughts and tips would be much appreciated. Thanks, Jack

I know that Alex has said multiple times that the 10" bf speaker, and the whole concept of their 10" cabs such as the vintage voicing and the half-lowpassing stuff was all designed and conceptualised for the 610. Perhaps a 310 is a better small cabinet than the 2 or 4 because it was designed for 6 to begin with?

In my experience it's very hard to do as everything needs to be set 'just so' and then your playing has to be super consistent. Then you change basses or switch to a pick for a song and it's all wrong again. I've had better luck with amps that get a little gritty themselves rather than pedals, although to be fair I haven't used a real amp in ages and these days it's either a sansamp or a helix for me, either of those do a decent job.

I came in to pontificate about how much I love my Bongo and L2000, but it seems as though that's been covered already. I also one had an Ibanez SRX500 that was pretty brilliant too.

I think I got mine for about that. For some reason the digital modelling ones seem to be a bit cheaper than the normal ones though. I only came here to say "Round? They're all squares, mate" and it seems that now I've accidentally been a little helpful instead.

I've just seen this post for real in Facebook too. I can only say "oh no". I've heard those Bose stacks (not HIS, but you know) and they sounded superb for the background music and then acoustic guitar/cajon/vocals duo at a local indoor market. I just don't fancy using 4 and change for a rock gig.

Fwiw when I'm doing the PA (and can be reasonably sure it's being ran competently, if not perfectly) then I use a TRS>XLR cable quite happily between my stomp and xr18. When I am working with another soundperson I always use a DI for these reasons.