David Morison

Looks to be perspective - if you scan across from the speaker mounting point on the ceiling to the brick pillar far right, it seems a little in front (downstage) of the front of the pillar, and even the back of the pillar appears to be a little in front (downstage) of the lectern, per the line of hazard tape.

Hi, thanks for sharing this. I've never had a mixer with such presets (or felt the need, having learned the hard way on analogue mixers) so it may help me and perhaps others to get a bit more info about how well they work please.... How different were the results from the presets vs setting up each channel manually (assuming you did that too)? Are the presets "black boxes", or can you see what they're doing in terms of EQ, compression & effects etc? If you can see "under the bonnet" as it were, are there any gotchas to be aware of such as EQ boosts or compression that would raise the risk of feedback in a live situation? Ta muchly, David.

To be fair, the D112 is one of the less heavily contoured of the typical kick mics (only about 6dB before accounting for proximity effect), so better for other instruments than say, a Sennheiser e902 with over 20dB of shaping built in.

Fs, Qts and Vas are all higher in V3 vs V2, so in a given cab & tuning, there will be a more prominent upper bass hump and less low bass.

I mean, given we're talking about 90's era Trace, it's probably just a typo and they really meant 47 tonnes rather than kg, right?

Sorry, just realised it was the 1528 that dclaasen was asking about, that 47kg was for the 1524 from the previously linked ebay auction, my bad. FWIW, while the same catalogue does show the 1528, it doesn't include specs. The 1248, which was the same size as the 1528 but with 4x12's was 45kg for the version without an HF driver; I'd imagine the 2x15 would be a few kg less than that.

47kg according to the 1998-99 catalogue I have.

To Heat. You forgot the 2 most important words... 😉

You've more or less answered your own question - there are so many pedals that do drive/dirt precisely because lots of amps don't. Given that lots of styles of music work fine with clean sounding bass, it's logical that a big chunk of the amp market doesn't go there. Couple that with the fact that lots* of dirt/drive type sounds can relatively easily be created without designing & building a whole amp, it's logical too that that sector of the tonal spectrum finds more expression in pedals than amps. * Obviously, there will always be those purists that aren't happy with anything other than output valve distortion & even transformer saturation, so I don't think SVT's are going away any time soon, but even they are just a subset of the overall drive/dirt spectrum of preferences.

Hi again, Yup, your basic signal flow concept is fine. You're right too that the "extra" outs like headphones, control room etc on that desk just allow you to monitor the main mix (or any solo'd channel); the only other output that allows you to properly tailor what's being heard is the single Aux. As a worst case bodge, IF you A: never use the EFX and B: never adjust your main mix once it's set at soundcheck, you could theoretically use the EFX send as a second aux mix. Obviously the potential for frustration abounds if you ever did need to adjust the main mix during the set - whoever was getting the EFX derived Aux mix would find it tracking the changes to the main mix.

No worries, you're welcome. Running as you are isn't going to blow anything up, but you're not getting the best out of your system as-is for sure. At the moment, the Titans and the Peaveys are both getting fed the same signal, so they'll be overlapping each other. That usually doesn't sound as good as separating them so that only one type of speaker covers any given part of the audio spectrum. Putting in a crossover would take a load off the Titans by filtering out everything below a set frequency (lets assume 100Hz for the sake of the example), meaning they do less work and (if need be) could maybe be pushed a little louder. It would also ensure the Peaveys are only trying to reproduce content below that frequency, meaning they're less likely to contribute unwanted muddiness in the (low) mids.

Short answer, no, unfortunately it wouldn't work like that. Why - because the high pass filtering in the Peavey bins occurs after the signal has already been amplified, meaning you'd be passing a full power signal to the input of the Titans, which they very much won't like. The right way to do this is to run your signal from the desk to an active crossover, which splits it by frequency and gives you separate outputs to feed one set to the Titans and another set to the amp that's driving your Peaveys. The modern way of things (that gives you maximum control of what goes where) is to do it digitally - entry level units start around a hundred quid: Thomann Mini DSP. For similar money, you can get new, analogue units that offer less control, or if you really want to save the shekels you could look for second hand rack gear. Behringer, Peavey, dbx have all made relatively affordable crossovers that should be findable for 50-100 s/h with a bit of patience. HTH, D.

Fair point, for some reason I'd defaulted to assuming we all tend to leave cabs set up ready to use but obviously, not. Several of the Ashdown Rootmaster series of cabs are shallow enough - the 414, 210 & 112 are all 336mm deep, the 115 343mm, so would all fit. I haven't used them however, so can't comment on their tone.

Note that for most cabs, you'll need an extra few cm behind it to clear the speakon & cable, which usually sticks out straight backwards. That will reduce your useable cab depth to perhaps 30cm or so, which will really narrow down your options unfortunately. @Downunderwonder's suggestion of a curtain rather than a door is looking like a really good idea at this point, if you can persuade Mrs Grapefruit.

Cool, well for the time being I'd say leave it as is at least till you've had the chance to turn it up a bit. The Equal Loudness effect means that as you get louder your perception of bass improves, so even if the low end were to sound a bit light at livingroom volume it might still be viable for your rehearsal use-case, even without adding ports.