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It sounds nice though. I do like the demos AB has on his site.

It’s certainly subjective but I had QC, stomp and anagram and went with anagram. Easier for me to dial in tones, everything is set up for bass which does make things easier and I’m getting a better sound out of it for me. I also think at the rate they are updating it (MIDI next) we won’t actually be waiting years like we did with QC. QC does have the plug ins though but apart from parallax there may not be loads of bass specific stuff. Anagram is also encouraging plug in companies to put their stuff onto it due to the way it’s been made (not like QC who have to do it all themselves). Having said all that it’s great as it is and it’s what i use for every gig now with no amp.

Painted/coloured headstocks - yuk.

It's interesting how difficult it is to be really sure about the power calculations. The manufacturers don't help much either. Advertising the RCF speakers as being 2000W being a case in point. Firstly that is some sort of peak power and the RMS power will be half or a quarter of that depending upon which brand you are talking about and what level of distortion it is measured at. Secondly the speakers like most modern speakers are managed by DSP. The bass unit it the 932's will probably handle only 3-400W thermal and less than that at low frequencies due to excursion limits. The speakers are protected by the DSP computer so they never go beyond their design spec so 300W peak is more reasonable other than something that lasts a few milliseconds. The limit on the compression/horn driver is going to be 50W at most. There's also an expectation that the speaker is for music not test signals and music has quiet and lout bits and it is probably designed for something like a duty cycle of around 15-20% with the design assumption that that is worse case and the real usage will be well below that. I'll give some examples: my RCF 310's 400W RMS 800W peak are marked on the back as 230V 200W maximum power. My 745's have a 3amp fuse and a maxumum draw of 700W. Those are maximum ratings under worst case. My TE Elf, 180W into 4ohms is rated as 20W average power. That's a 15% duty cycle into 8 ohms and 12% into 4ohms Another way of looking at this is to consider sound levels. The average sound level at a drummers ears is just over 100db. If you are operating with everything balanced to the drums then your PA would need to be around that sort of level too, maybe 6db higher if you are all going through the PA. From memory those speakers give 98db/W so 9W would be needed for them to produce 106db at 1m. That's loud enough to cause instant, permanent hearing damage if you are only 1m from the speaker. Even 90db can cause permanent damage after 1/2 and hours exposure (RNID) It's unlikely that your speakers are using more that 10's of watts in normal use. What this all means is that your 2000W PA is only going to consume 100W per speaker and your backline probably something similar even with a worse case 20% duty cycle. That's well under 4 amps. I doubt many of you use more than 400W of led lighting and this too has a duty cycle, because it does colours, not white light and because it flashes, so unless you run continuous lighting or old fashoined incandescent bulbs you'll probably be running the lights on 2amps current. Your single 13A fuse is never going to blow and there is no way you will disturb a 30A ring main. You probably won't blow a 5A fuse but I don't think I'd try that. I haven't blown a mains fuse in 15 years since I moved to plugging in to a single socket for everything.

The benefit is that NAM is currently the most accurate way of capturing amps so you loose the ability to do it in the unit like the QC but if they are done well you should get more accurate amp tones. and yes you can route amp/cables signal to either the other xlr or a 1/4” inch out.

Mine is about to get reduced - Sub Zero is about to move out (about time, he's 29) and I'm reclaiming his bedroom which was formerly my music and computer room. Then I'll have somewhere to put various pieces of music making and recording equipment that I've bought but have had nowhere to set up.

I guess I have to be relatively tidy, as I'm working in a very small space. (There's a Skoda Superb Estate outside with a full boot, too!)

Thanks. As I play with a pick I find the latency more noticeable because of the click. It really isn't an issue, and when playing along to music it's not noticeable at all, but felt I wanted to try something in the next price bracket up, and also id prefer 5.8ghz. Doesn't seem to be much around in that band at sub £100. Im only going to use them for rehearsals and never live, but I would take them as a bak up.

If it plays how you like but you want different sound flavours, it's yours to do with as you please. People here have recently said they prefer vol/balance instead of vol/vol. A tone per pup makes sense to me.

Thank you ! 😀

I think we have 2 winners, amazing mess guys, congratulations! 😂

In my experience as a former sound engineer, these shocks are caused by potential differences in the earths between your mixer and your PA, backline amps etc. If it is a small system, and everything is plugged into the same socket, it is usually fine. The problem comes when you have your on-stage gear plugged into one socket/ring main, and your mixer out front in another and they don't have a fully shared resistance free common earth. Any potential difference then takes the fastest route to earth via you and your mouth when you get close enough to the mic, especially if you're holding a guitar. The best way is to take a marked up XLR cable for the mic with the ground (pin 1) disconnected at one end. This will act as a ground lift (like the switch on a DI box) and should stop the belts in the mouth. Obviously this may cause the mic feed to be noisier in certain venues as you've removed the ground, but that could be the better of the two evils. I remember doing this about 25 years ago with the band Nine Below Zero at the venue I worked at. The venue was desperate to open but the lead singer was still soundchecking, strumming his guitar and getting shocks. I got one of the crew to open up his XLR, cut the connection to pin one, tape it up and put it back together in front of him. He stood there and watched in disbelief thinking we were idiots. He put the lead back together just as the venue manager decided to close the curtains and let everyone in. As the crowd ran in to get their positions, the lead singer strummed behind the curtains with just the monitors on (that were still loud in the venue) and went "Hey mate - either that was lucky guess or you're a f***ing genius!" We kept that lead but hardly ever had complaints that would mean we needed to use it again - I assume it may have been something to do with his amp, perhaps earthing him faster through the mic, rather than the other way round.

Always book two singles Andy, eh, eh?