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Almost an all new gig setup for me at the moment with the exception of the Sadowsky M/J which I've ben using a lot in recent times and done a few gigs with now. First outing this week with a new LFSYS Silverstone II, and my fully restored 1994 Trace Elliot AH250 GP12 SMX. Lots of clarity, exceptional low end performance, and excellent sound quality so far from this combination. I've also stopped using my trusty LMB3 for now, and I'm relying completely on the dual band compressor on the amp.

Gig last night was a little two hour, two set, Thursday night soiree. Everything went ok and it was free from any technical or equipment issues. The pair of G4M 1x12 powered pa speakers bought used for less than a ton nearly a year ago as a stop gap when our previous singer left with his EV’s continue to provide sterling service, and have more than paid for themselves. They aren’t hugely powerful but 1x12 + horn seems an ideal configuration for pub gigs. It’s only vocal, saxophone, and kick going through them. First time out for my new LFSYS Silverstone II cab, and also first gig with my newly restored Trace Elliot SMX head. Both worked perfectly and the clarity and sound quality were quite astonishing. I used my Sadowsky M/J for this gig. If there was anything to be noted for after gig discussions, it was that the second set started to get a bit jazzy rather than blues and perhaps a bit louder than was necessary. Both the guitarist and drummer were suffering from “The Guiness Effect” by then.🤔 Venue was Baker Street in Stirling, not the most spacious of venues. The band name seems to be sticking now as Blues Delux( for the last three gigs). Must admit I prefer the Sunday afternoon shows at this venue rather than late week nights. It also rained tonight, and the venue was late advertising the show. So it wasn’t a big crowd we played to, but they seemed to enjoy it. Everyone was happy, the band all enjoyed themselves, and we got paid to boot. I’ll take that any day. I believe there was video footage but it's not available yet. That maybe a good thing😊

It's amazing to me how a 90s act like Alanis can still get the big gigs. Daryl

IME this is the issue. The lack of control most bands would have had over how their first album sounded cannot be overstated. What the band intended and what the record company paid for are very different things.

afraid not… that MXR does look tasty, but I have fallen into the Future Impact… when you get your head around the PC software, its amazingly capable…

Thanks @stevie. This was exactly what I was getting at. This is my goal as well. Have a cab which basically sounds exactly like the DI. I have tried various cabs and the closest I've ever got to this is my Vanderkley 2x12. Even that isn't quite the same to the exact details. As you say, the graph is of course subject to the mic position and all the other factors such as room reflections. I'm not sure if the idea of having the DI feed being the same as the mic'd cab is practically attainable or even possible, but it's in an ideal world what I want. My question was a roundabout way of asking if one doesn't know how to mic the cab properly, how can anyone say what goes out is what has went in?

The Dimension was a serious contender. Its lack of sales was saddening, as in HH Elite spec it was a serious MusicMan crusher. I owned and played one for eight years until it sadly had to be sacrificed as a trade-in towards my KingBass Mk-II. I have a feeling it will be back at some point, as it was one of those hyper useful Swiss Army Knife basses.

Agreed. The Ultra II model's use of the top side truss rod adjuster and rear truss rod skunk stripe smacks of production streamlining/cost cutting. The Elite was a definite quality high point. Mine is sublime and one of the best Jazzes I've played. (It's up against some stiff competition in my own collection as well!) I played one of the early Ultras when it was newly launched and the setup from factory was utterly unplayable.

We both drove a huge way out of our way yesterday evening and met on the M4 for a very good sale/trade. Highly recommended!

Girls On The Avenue - Richard Clapton

Slight tangent, but I once spent way too long at a bar in Japan trying to get a gin and tonic. I was asking for a "gin ando toniku". Took me a while to re-read the katakana and it was just "gintoniku". Dude got it immediately after that 🙄

@Wolverinebass has a point. Half of the sound is coming from the bass driver and half from the horn. So, how do you mic up? I made some quick measurements on a Monaco cab with the mic pointed at the horn. The top one (black) is relatively close, maybe about 30cm. The measurement looks quite clean but there's a distinct dip between 600Hz and 2kHz, which will affect the sound - it's two octaves. This is because the mic is well off axis in relation to the bass driver. The red measurement is from about one metre. You can see that the dip caused by the bass driver has more or less filled in. However, at that distance, room effects are going to be noticable. In this measurement, you can see the change between 200 and 600Hz caused by room reflections. So, measuring at 1 metre is more accurate but the sound is likely to be affected by room reflections or other noises (instruments). The logical conclusion would be to position the mic in between both drivers, which should allow the mic to be positioned closer. I'm so used to measuring on the tweeter axis that I didn't consider it at the time, but I can take a measurement in between the drivers is anyone would like to see it. I do agree with @matybigfro, however. The design goal of the Monaco (and other LFSys speakers) is to reproduce the sound from the amp as accurately as possible. It makes a lot more sense to DI.

Fantasy - Mariah Carey

@Woodinblack Agreed. I get confused because I use synths and they can morph the oscillators between series and parallel. In the digital world you see, I lose track of what's possible in the real world? What I'm thinking is that each circuit will have very different resistance measurements, and in a passive world, will I have created mostly a loud and quiet setting? @itu 1. clinck link 2. crtl + F 3. input = spector result - page 307. There be a passive EMG circuit for Spector. Splendid. Thank you. edit: ah, there's a tone pump. Missed that. More research to do. Page 326 may be a starting point. @lemmywinks I'm not yet tempted. There are signs that some were built without preamps yet had EMG pickups. They register similar on the input meter to my active on centre notches. It already has great tone. Compared to the TB-70, it is lively and clear with a fret thump that isn't too bright but has mid range chunk. It make me smile as soon as I played it. It sounds good when it's not plugged in, even slapped, maybe. The instrument has a lot of natural tone dynamic, very lively but calm and deep if careful. I'll experiment without the pots, setting a switch for series and parallel. I will enjoy struggling with the circuit design.

Also fair play to Rich Tone Music, I paid for this yesterday after lunch and it was with me in under 24h.

Been curious about these since they were released a few years ago, as I much prefer the RG style to the Soundgear range, and a fretted 5 was a hole in my collection. When I spotted this I had to take a punt. It's black, it's got a pointy headstock and sharkfin inlays, and it cost less than a Squier. What more do you need. It plays nicely, although we'll see how low the action can go, and sounds fine (although first impression is that the preamp does SFA). Neck's not as flat as I'd expected/hoped for based on the reputation of their guitar necks. The headstock also survived me immediately twatting it into the attic roof as I was unpacking it unscathed🙄 Good for metal innit. Although the skull volume knob might be a step too far.

I used Tiny Tone for the clear one http://www.tinytone.co.uk/ and RF Custom for the two part black one http://www.custom.co.uk