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@agedhorse I think you haven't met a lot of the 'engineers' working the rough end of the circuit, at least in the UK. People skills not always in abundance. I've noticed both as a player and a punter that mixing skills aren't either. Even at medium venues I noticed heavy reliance on presets and RTAs, little use of ears or musical understanding of genres. Quite a lot of them come from AV/theatre backgrounds and do live bands as a top-up. Touring engineers that go with bands are generally a different proposition. Though IMO they still rely too much on presets.

Unless the low pass inductor is seriously undersized, resulting in high DCR and potentially going into saturation, a low pass filter won't cause clipping of the low notes. That's usually the result of inadequate driver xMax/Vd, sometimes by the cab size and tuning. If you went with the WinISD default of 41 L per driver with 58Hz tuning you'd run out of excursion at only 80 watts per driver at 50Hz and lower. Without knowing the cab specs that's all I can offer. If I was using that driver I'd ignore the WinISD default and go with 30L per driver and 45Hz tuning. If you did use the WinISD default making the port(s) long enough to get to 45Hz tuning would be better, and since the net box volume should be smaller as well you've got the room for it.

I can't find this one on Spotify Shame! Tis excellent (as is the album)... Though I think some sort of rights issue took it of Spotty.

Buy yourself some of these. It is the same thread on the bolt - this accross multiple makes and ages. I did 10 mic stands at church this morning. Everything is now super easy. Obv the stands have not been used properly, but then, as soon as any member of the public get their hands on mic stands, we know that boom arm tightening doobrie is the first thing to go if they are not dog bone tighteners. £2.55 each and they now support themselves like those pricier K&Ms that I should have bought in the first place. Happy days. https://www.thomann.co.uk/km_knebel_komplett_schwarz.htm

Yep, in incidents like this it’s the “do as little as possible that I can get away with” attitude that is prevalent. I don’t know if this happens across the water but it certainly happens here across many forms of employment.

Great suggestions, I can't keep up! I'm travelling for work now, so I'll do a mass update of the playlist probably tomorrow evening or Tuesday.

I followed this thread and repurposed a SWR Goliath Junior Mark 1 (Eden USA made) 2x10 cab. Used the same two Celestion BN10-300X and an Eminence BGH25-8 as recommended by Bill Fitzmaurice. I only used the HF part of the crossover and followed @stevie advice and connected the two BN 10 -300x direct to the input. With new ports the system worked really well. I integrated the variable HF control which provided extra control over the HF. I have been very happy with the performance of the modified system and I am grateful for the help and advice from @stevie and @Bill Fitzmaurice. It's a very loud versatile cab with huge tight bottom end.

….which is why I’m going to wait and see, I don’t relish defending an HMRC demand for income tax on ebay sales that are in most cases a used item sold for significantly less than I paid for it new. Also eBay can be pretty brutal to sellers, and while it seems ludicrous to suggest it now, I wouldn’t bet against a future scenario in which they withhold or reclaim money that HMRC believes it’s owed….

White Wine the Sun - Tim Minchin

It was going so well. Sorry, this means I cannot come.

Step Into Christmas - Elton John. I played it with the band last night and it went down well. I'd never heard it before being given it in the set list about two weeks ago.

With respect, you were operating at a level where things would get sorted out quickly and amicably, so the sort of situation I described wouldn't ever happen. You would be dealing with the same groups for weeks or longer at a time. You wouldn't have behaved in the way I'm about to describe and then annoy everyone more by being condescending with it which is why things got heated. In the toilet/originals circuit in London where I'm sure the engineers are getting paid much less than you to do a good job, they very often don't care. Worse still, the air of impunity of action in some cases can be really bad. If it's only one night does it matter if you annoy the bands? You probably won't see them again. Who cares? When you ask why they did something that has negatively affected you or your band and they tell you to f@&£off refusing to discuss it, would that not annoy you? Like one time, one muted my guitarist (he was using a helix staright into the desk) for the whole last third of a song and when asked after the gig what happened told him the exact same thing and then shoved him. No explanation, no apology. When you ask someone nicely for what you need (explaining why you need it) and they proceed to do the exact opposite is that not screwing with you? So, if you're playing in a trio the bass takes on a whole different role than in say a 5 piece with 2 guitars and making the bass all "whump" isn't going to help you or the band sound good. Admittedly, I play a more driven, lead bass style and seemingly that doesn't compute for some of them and I can't understand why as it's not that complicated. I've never asked for anything except to be able to hear myself and to point out before soundcheck that in some of the bands I've played in, the bass has played more lead figures than the guitar, so please don't cut the treble. Whilst experiences like these aren't every time, it's been enough of a negative experience for me over the last 20 years that I find it depressing that in all that time, very little has changed in how bass is allowed to be presented in a live format. It's worth noting that when I have played bigger venues the engineers have been great.

If you're using that crossover, I'd say it's highly likely to be the cause. Try bypassing the LF section of your crossover and wiring direct to the bass drivers. Then you'll know.

Dunno, ask Andrew Mountbatten-Windsor about that...

People will not have heard of her before. People will have subscribed to her. There is no such thing as bad publicity.

Slipping out of the groove in the roller saddle on the Schaller bridge when slapping due to the low break angle, I believe. Mark King said something similar and that is part of the reason why he ditched his pair. The owner was and may still be a member. I don't recall his username, but if you do a search for Pangborn, you can read it in his own words. You will have to go back a ways but there is not that much Pangborn content. What you say is true, though the late John Diggins always maintained that the initial similarity was more of a happy accident and based in large part on a customer's design specifications, which was an attempt to copy an Alembic. He would also say that Ashley Pangborn spent a fair bit of time studying his instruments at trade shows over the years and you can see them evolve closer to a JD, for example, in terms of the control layout. That said, Pangborn's instruments were (mostly) neck throughs, while JD stuck with the set neck design.

Just a quick look at some of those (checked them with obligatory, opening ad paused, so no ‘watched’ registered) and that video has really backfired for her.

I bought an Akai Midi Pad from Alan. Super easy and friendly transaction. Posted quickly, and arrived exactly as planned. Pleasure, thanks 👍 Alex