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Hah funny you should say that! I had the club stage monitors and they were miles ahead of the awful 15" tops that were common - including a lot of those early moulded cabs. Fired them up a few years later next to my home-brewed 12" tops made using REW/Bagby spreadsheet and decent components, and couldn't believe how coloured they were in comparison.

I’ve got the 200 watt, 1x15 and it’s very loud for the size and weight of it.

I think that is right, the test was through Yamaha Club series speakers S112IV if my memory serves, and these had a real midrange peak due to the Eminence Delta's they used. At the time they were so much better than the Peveys everyone else used I quite liked them but they had to have affected what we were doing so hardly a fair test. My own anecdotal experience

This really doesn't sound like a band I'd want to be in with all this going on. If people can't be up front with each other, it's a non starter.

… yes, but I ain’t bending down for no-one to change my settings on a gig 🤣🤣

Steve bought a 1970s tenor banjo from me. Great guy, making it an effortless experience.

Stop the world - Captain Sensible

Isn’t there a funkulator in the grizzly?

Yes, I thought the same when I saw the title , Ive heard it so many times, glad he put that out there . Im quite liking this guy , he hasn’t got many videos yet but I think his channel could be interesting,

Around The World - Daft Punk

One thing I've long suspected about mics in live PA is that if you overlay the mic frequency response over the speaker response, including info about how the latter behaves around crossover, you'll be able to see which mics will play nicer. Even more so if you could see time-based plots and distortion info. I've often thought a mic with a tight peak somewhere around the crossover frequency brutally highlights all the deficiencies of that speaker. From memory the Shure peak is that little bit broader, higher and smoother than the Behringer. Likewise the slightly humped response of a lot of PA tops in the upper bass can play really crappily with mic proximity effect. Years ago I remember any boost centred around 3-4.5k always sounded awful with the common two-way speaker designs, because the woofer would be in breakup up that high and the mediocre tweeters would be straining to reach that low. Plus the ear is quite sensitive around there. Half-decent speakers nowadays tend to cross a bit lower, plus the crossovers are better, buying a bit more space. Just my own anecdotal experience, nothing systematic.

I hadn't spotted the black tab, my EBS had the same thing. In that case it will be dead easy. You're right though, the time consuming bit will be the staples. Will let you know how it goes.

Thet eventually conceeded that the courier had no case and dropped it. A courier or intermediry will try and avoid any pay out. However, my case (and @Gunsfreddy2003) is a case of the courier trying to claim that packaging wasn't appropriate (which it patently WAS) and they tried to claim a handling charge because it wasn't regulation packaging!

I can't understand why the shipper wants to insure against damage by the courier. Pack it properly and photograph it. I've never had a problem. If they handle your parcel negligently then they have to make amends, surely, so the courier probably ought to be doing the insuring...

… so had a break from putting boards together (as they take so long and I keep on changing them, I’m sure that’s never happened before on here 🤣🤣). The plan is to have a modular Pedaltrain Nano system, so everything ends up going through the utility board (Red Panda Mixer - Polytune 3 Mini - Lusithand Alma Mk 3 - Sfx Microthumpinator V2 - Franklin Audio Passive DI): The instrument boards are for a Fretless (Cali 76 Bass - DCX Bass - MXR Bass Chorus Deluxe - MXR Carbon Copy): Fretted (G-Lab BC 1 Comp - Creation Audio Grizzly Bass - Creation Audio Funkulator): and lastly the modulation board for Key Bass (Empress Effects Tremolo 2 - Vein Tap Dark Arts (Phaser) - EHX Eddy (Chorus) - MXR Carbon Copy Delay Mini: The idea is to be able to be more discerning with pedal choices for different instruments. I play at church and sometimes want to use all three instruments (no, not at the same time 🤣), sometimes only two and other occasions fretted only. This should make things more simple and easier to move about, rather than having a monster board were most of the pedals aren’t used! I’ll post pics when it’s all tested and built up, but you hopefully get the idea of my thinking. Peace.

Bought a preamp kit from Tony. All went smoothly and Tony is a top gentleman, and helpful too. It’s a thumbs up 👍 from me 😊

Interestingly (to me anyway) I tried a mic shoot out with one of my bands who were using some ..... less than good mics. They included an SM58 and a XM8500 as well as a Samson of some sort. generally the band preferred the 8500 to the SM58 though I did have to resolder the Behringer to make it work! The Behringer does have a brighter sound and the resonance peaks are in a different place which could sound tinny if untamed. The shure had a lot less handling noise but the Behringer rejected feedback slightly better. Shockingly there are Three Behringer mics below the XM8500 as well as the XM1800 which is sold in packs of three. The singers husband went out and bought a Shure KSM9 sadly he didn't ask me and I didn't have phantom power at the time so it was never used in anger.

regardless of the Harry connection, I like the look of it, but it's way too pricey for a Mex IMO Japanese perhaps, but still no spb4 or BA sadly

2 minutes from me, you'll have to call in for a cup of something some time Actually if you want to drop in I could lend you a Micromon I don't use it very oten, just to tempt reluctant singers to try in-ears