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One of the guitarists goes through the PA sometimes. On one occasion he'd somehow turned up his volume vastly, and the sound from the Altos was both mind-buggeringly loud and very clear. I put a limiter on the mixer after that.

The smaller Altos are another 'affordable' brand. Our club uses bigger Alto powered speakers andcthey sound find and have proven vastly more reliable than HH. Last night we had a drum machine and then a guitar through them without backline no problems (except the guitar turned up far too loud).

Evening all, I have an acoustic guitar that's worth saving but the bridge needs re-gluing. Does anyone know what glue/tools I'd need to do this properly? Hide glue seems to be the typical choice, and I assume some clamps with a suitable throat depth too... If anyone knows how to do this and the specific materials/tools needed (bear in mind I do need to operate on a budget to make this guitar worth saving!) I'd really appreciate some links to places where I can buy the right glue, clamps etc. to do this myself. Thanks! Russ.

I use Alto TS308s for FOH and TS408s for monitors. I did have them the other way round but the 408s are better shaped for floor monitor use and for some reason it seemed to improve the situation with feedback. When the speaker failed on my bass amp, I put the bass through the PA and it was fine, which was rather impressive - didn't want to make a habit of it though.

Took it back to Fair Deal today and they've booked it in for a repair after taking the side off (with my assistance) and finding that the speaker had disintegrated, as I'd predicted. Just hope that they can source the correct replacement - I did tell them that Polar Audio stock them.

Nipping through my fingers - ABBA

So @Chimike, assuming Andertons had stock, what are your first impressions? 🤓

Well... First, the chaos of setting up three bands well (solo singer plus band) using the same mixer with two guitars using the desk, a drum machine and an electronic kit. Somehow it worked, but the second band's guitarists did the "crank after soundcheck" thing which scared off a few punters and did their sound no favours. Their bass player (also the organiser) used my kit. Our set was as interesting as promised, despite Fritz doing his back in which made it a little tamer. In my labcoat I wheeled in the patient (we skipped the straitjacket). He shambled to the mic as Nigel the specialist delivered the narration. I handed Fritz an acoustic guitar so he could start his 'creative therapy'. He played the Fractured Persona song with us backing quietly. The first four songs I went fretless Maya P. As it cranked up the fourth song was pretty punky so over to fretted P and plectrum. Then back to fingers except for Kill the Klown, which featured a sledgehammer clown attack on our singer who reponded by chainsawing the clowns head off. The prop chainsaw was wirelessly miked up too We ended up doing our encore, largely without our rhythm guitarist who truned the volume down on his guitar and forgot. We knew some of the songs were memorable and it was surprising to see people joining in some of the choruses, so comfortable we weren't just a novelty show. Lots of decent feedback despite obvious first gig hiccups. Memorable for us and the audience.

That sounds like something I could use, as I might make some more of these. Do you have any links to where you get these from? An Amazon search was unhelpful.

Most top acts tend to over-use subs as well. I'd say three out of four FOH mixers have no idea how to mix bass. The fourth is a bass player. ☺️

Doh!... Been a while... Soz! ☺️🥳..if there is any interest still, here is the YouTube link..... A little more Gilmour It's been fun, proper gigs start in October...

Bill's advice is spot on, as always. I'd suggest using the HPF at 60-80hz on everything in the PA, not just the bass. You won't block all frequencies below that figure, because the roll-off will most likely be at 6, 12 or perhaps 18db per octave. It will make the overall sound a lot cleaner. People tend to over-use PA subs and put too much low frequency energy into a room, which results in mud and boom city and can excite all sorts of nasty resonances in a room that isn't acoustically treated (which applies to most gig venues).

To me, it was a Jazz bass (especially a '70s one) with the bridge pickup's volume set full on and the neck one's for about a third but also a Stingray (it was 3EQ one), both strung with stainless steel roundwound strings (DR Hi-Beam), that sounded woody.

Gemini pickups might do something to fit

Grand Fu*k Railroad