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Ooooo that's nice

I won’t be watching but just listened to my 2 favourite BS albums whilst doing the ironing this afternoon. Rock n Roll

I’d recommend these, Gary has fitted a good few for me and they’re excellent

I'm not sure About being totally disinterested in LFSys as Stevie is a friend but it would be a shame if there wasn't a clear answer here, as well as being available elsewhere. 'Hearing' yourself on stage isn't a simple thing. Everything you play is made up of a wide range of frequencies and you won't hear all those frequencies equally well. In addition there are lots of other sounds reaching your ears: the rest of the band, reflections of your own sound reflected off every hard surface in the room, the PA sound and the audience sound just to mention the loudest sources. Your ears pick up this jumble of noise and your brain interprets this the best it can so you hear what you want. Your hearing isn't an accurate map of whet gets to your ears it's the best your brain can do with the information it has. It's probably quite useful to think of signal and noise. Signal is what you want and noise is all the distracting stuff from elsewhere. If the signal falls below the noise you are still picking it up but the brain can't turn it into anything useful. It can be as loud as you like but the information isn't useful to you. Now to fully understand you'd have to look at each frequency seperately but it's more useful to look at three bands bass, middle and treble. I'm going to look at bass and middle as there isn't a lot of top end coming from your bass. So now we come to the physics of speakers, the crucial bit is that the way sound is radiated depends upon the relationship between the diameter of the speaker and the wavelength of the sound it is trying to reproduce. If the wavelength is longer than the diameter of the speaker it is radiated evenly in every direction. As the wavelength becomes shorter and shorter the sound is increasingly radiated into a narrow beam of sound and a big speaker is radiating the mid-rnage and treble more like a searchlight or torchbeam than the bulbs that illuminate the room. 10" speakers means searchlight for most of the midrange 2x10 doubly so and the midrange is where all the signal is that you need to hear what you are playing. With no tweeter your Two10 stands very little chance of getting the signal to your ears unless you raise it right up to ear level and point it straight at your head. Even raised on an 18" platform the mid range is going past your waist not your ears. So adding a tweeter and crossing over at lower frequencies mean they won't beam and using a horn directs and controls the radiation pattern to an extent. LFSys crossover slightly lower than any other specifiacally bass speaker so you'll get more mids going to your ears and they have one extra trick; the horn is rotated 90deg so that the widest radiation is in the vertical plane and not horizontally as you would get with a PA speaker. Hearing bass isn't an issue, on most stages you are swamped with bass. Firstly you will hear the bass from the PA and at the same volume as the audience as it is radiated 360deg, In fact since you are closer to the PA in most venues than the majority of the audience the bass can be even louder than the reat of the on-stage sound, secondly you'll hear all the reflected bass off the walls, ceiling and floors all with a slight time delay smearing the sound so you'll get loads of complaints about the bass being so loud whilst being unable to hear enough mid-range to really hear the details of what your bass is doing. The Monza and Monaco in particular have a really tightly controlled bass and this also helps.

Ditto - apart from Gojira, I think they're incredible. AIC were a little lacklustre, and the less said about that disastrous drum battle the better but apart from that, it's been an absolute killer day so far.

You could have learnt it in the time it took to write that message.

Half way thought and I'm loving it so far. I've never really been a fan of Yungblud but his cover of "Changes" was phenomenal. Gorija were there worst act so far for me but then again it's not really my thing. Looking forward to all the big guns coming on in the next few hours.

Ouch. Assuming the build quality and factory setup was still sub-Classic Vibe level that doesn't seem particularly fair! Anyways, I'm assuming the orange Affinity wasn't a Mike Kerr signature model, so the listing is still trying to blag a comparison between a sub-CV Squier and the by-all-accounts dreadful & hugely overpriced Fender model from '23 that won all the end of year wooden spoon awards.

Hi, If you have to play in a Skunk Anansie tribute band, you'll think about single pedals or to get a digital multi effects pedalboard? I prefer analog sound to digital, but maybe with single pedals I have more work and cost. It will depend on songs, of course. I will need compressor, chorus, overdrive, fuzz, delay, envelope filter...may a multi foot switch to active more than one pedal at the same time... At this momnent, I've got some pedals: compressor, synth wah, envelope filter, OD and fuzz (Shock Attack), octaver, chorus...not delay, not power supply and not switch controller. And a new HX Stomp. And not experience with effects. Did anybody play SA music and can share his/her experience? Thanks in advance

If you want B/T/tone, and blend/vol, your wish not to have stacked pots is rough. However if you leave T away, put the output jack to side or back (consider Strat style plate, like in Ritters have), you could have 4 pots in the front. Or if the T has switch and works as a tone, too, that would do. I think John East had one option, where all adjustments were divided to separate pots, but I couldn't find it now. His preamps are highest end, and are designed in a very interesting way. John used to design mixing consoles, and it can be seen in his creations.

58th time lucky?

Don't think it offered five string option the last 57 times I looked. ☹️

Agreed

MARCUS MILLER - The Sun Don't Lie..mp3

What would the product name be: 'Bassic'?

Is that a song you have to 'learn'? It comes from the "Hi Ho Silver Lining' school of bass playing.

Currently - MARCUS MILLER - The Sun Don't Lie