EBS_freak

This looks pretty special. Well done in bringing it to market!

Some beautiful timber on that. Enjoy!

Ah - bass player in the audience!

Knowing to get the best out of your gear is sometimes better than having the best gear. Of course, having a band that plays for the audience counts for everything. There's too many drummers that will start playing too loud, guitarists will turn up volume throughout the night, keys players will start stepping into the domain of the bass... and singers that don't sound check at the volume they actually sing at. Of course, bass players are always golden.

Get a refurbished Surface Pro or similar.

Hey if it sounds good, it's good.

Just a note on HPFs - they tend to be deployed far too often with an aggressive cut that impacts the quality of FoH. You are better EQing your monitors to cut the sub - you still want the lower frequencies out front (to a certain extent) - cos otherwise youll find everything starts to become quite harsh.

Stick with the 935a. Evox 8 setup will not be a patch on the 935s.

Tasty isn't he? Kevin MacIntire

Oh... just reread - The rear firing 12” speaker provides a sonically charged heavyweight blanket of bass that has to be experienced first-hand. If you are a gigging bassist looking for a true “one cab solution” Heavyweight blanket of bass on stage? Yeah. No.

I did think on the logic behind the Berg rear facing speaker was to employ a cardioid setup - to make the bass more directional (e.g. out of phase at the back to send more bass forward) This works for FoH subs because it's in front of the mics on the stage. Not sure how successful it would be on stage. Maybe it would help reduce bleed into the kick mic... and of course, it would reduce bass bouncing off the walls (especially the back wall). Maybe I should look at the link and see what the reasoning is. I'm pretty sure it won't be for monitoring purposes though!

I kinda like that!

Let me summarise the way of getting positive outcomes - 1. PA does all the heavy lifting 2. Onstage volume as low as possible or even better... silent stage. All this reduces the chance of feedback and unwanted bleed into mics 3. Yes, I know all your favourite artists use big amps on stage... but they also tend to play on big stages, reducing the bleed. 2 in a pub (for example... or difficult venue (highly reflective surfaces)) is a winning move. 4. IEMs can be used in the pub as well as stadiums. Arguably they will be more useful in a pub for creating a better sound that is easier to mix out front... and easier for yourself to hear at a safer volume. 5. If you are using monitors, make sure they are pointing up at you from the floor (or roof mounted (as in some venues) pointing down). Depending upon the mic pickup pattern, either behind the mic of off to the sides of the read of the mic. Regarding 2 and 3... Springsteen knows best - His backline is big - but so is his stage - so separation between volume sources and mics are maximised - leading to a greater reduction in chance of feedback. The amps and cabs are running enough to get whatever tone guitarists tend to be precious of. They are still miced up and the PA is providing the volume for FoH. The cabs are completely off axis to the mics in the fact that they are pointing straight up - greatly minimising bleed. Oh and 6. If your drummer is a noisy f**k, your band may sound better for them using an elec kit. (OK tonally may not sound as good... but a decent mix is superior to overly powerful drums in the mix with a load of cymbal bleed going into the open mics). If not, drum screen/booth of shame (although practically of moving this can be prohibitive. Just get the noisy buggers to shut up a bit (they won't... they may for sound check... but they'll always do the equivalent of the guitarist turning around and turning up (e.g. hitting harder) anyway)

Go on then. Show us what you've got then.

Correct.

“The rear firing 12” speaker provides a sonically charged heavyweight blanket of bass that has to be experienced first-hand.“ the very thing you don’t want on stage muddying up your on stage sound!

cheers @dave_bass5! Much appreciated.

Im in the camp of running a processed IEM mix (hence why I always run two desks - one for monitors, one for front of house). Why? Cos it can sound like this....

Right tool for the job and all that!

In which case, use a 4 string!

Big difference between the 915 and 945 due to the quality of the compression driver in the 945. The crossover is very low for a full range box meaning that most of the musical content is going through the super high quality horn, freeing up the woofer for the heavier lifting in the lows. Most boxes in this price range would have nothing near the quality of the horn in the 945 - which makes the 945 such an oddball. (Same as the 735... 745)

3 to 7 yes, absolutely. 7 to 9 - much less significant

No - because not all venues are the same and monitor placement is of upmost importance. Fire a backward facing speaker toward the band, bounces off the back wall, straight into the open mics of the drums, or the vocals etc. It absolutely not the time to do something like that!

You can play open strings as long as you dont need a drone from that open string going on.

Gruv Gear Fret wrap!