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Bleed Like Me - Garbage

Are you familiar with this gent? I saw him with his "radio orchestra" a few weeks back in Liverpool. https://www.bdsentertainments.co.uk/ I have to say that they were hands down the best 20s/30s act I've ever seen and I've seen lots. The audience was, as you said, mostly people over 50, but there were also lots of young people who are on the retro circuit who were dressed so perfectly, that I felt I was in a costume drama.

More Reggae but not real Reggae, this is like a Brazilian hybrid. The tune is called 'A Novidade' by Gilberto Gil from his MTV 'Acoustico' DVD. The bassist is Arthur Maia who, before he died, was on everything everywhere in Brazilian music. https://bilbosbassbites.co.uk/a-novidade-gilberto-gil/

Sent back for replacement .......no available stock !

thank you kindly

Love Clots - The Cure

If you use Mixing station app, (which you should) then you can get band members to log in with only their bus send permission. So no changing FOH settings by accident.

Ignore the Behringer haters, that’s an outdated viewpoint. I’ve been using XR18’s for all 8 of the function bands I run, doing 40-80 gigs a year for coming up to 10 years. They are great pieces of kit and Behringer make great hardware now at this level. Never had any issues. The X32 is now not far off the price point of an X18 since the Wing was released if you feel you’ll ever need more channels. Easy to multitrack record gigs, everyone can run their own IEM. Just buy your own external router.

Blood Red Skies - Judas Priest

That is only relevant to speaker handling power at fequency vs volume achieved aka sensitivity. Speaker Output at lower frequency suffers from lack of power handling. Power is the integral of applied voltage over time x current / time. Aka average power. Using root mean square takes care of the alternating current being negative half the time, so RMS voltage x impedance gives power. It is independent of frequency. Adds up to your bass speaker can scream a 1000hz 250w signal for maybe half an hour, or whatever Agedhorse says, but drop dead in half a second with 30hz 250w.

Very easy! The routing required is pretty precise, so you just need to get a template right before tackling the bass.

They sound pretty good to me, but I'll listen to it later on the big system before I make a final decision.

The guy who's been repairing my amps the last 6 or so years there me that measuring at 1KHz takes less power than lower frequencies, so the rated power brings a higher number. This is incorrect?

Alice Cooper's version of the Zodiac Mindwarp song Feed my Frankenstein. Mark

Thanks Dave, It's one of those venues where the owners put in a lot of effort to take care of the bands. You can drink for free. Plus these folks have live music booked for 3 nights a week in the summer. Friday, Saturday and Sunday. Very cool vibe, money people, no " riff raff". Lol Daryl

It's expensive in my neck of the woods. Especially these high end "snooty" Winery's. When I was going out with Connie last year she was always broke. I'd take her to a gig and I had to pay for everything. I'd end up spending half of my pay on drinks and meals. Daryl

Not necessarily. I'm still measuring the same way today as I did in the 1970's and every product I have designed uses power based on RMS metrics and states THD. For MI applications, especially where the distortion harmonics components may be integrated into the signal in both the preamp and power amp, I have standardized on 10% because after a lot of test player contributed their perceptions, 10% was pretty much the sweet spot where most players liked both the tone and texture. The most common numbers I see for bass amps range from about 5% to 20%, depending on the application. For guitar amps intended to be overdriven as part of their native tone, 10% to 30% is more common. Of course, the amps must be tested and safety certified under these conditions if being honest. For pro audio, the numbers are different of course, and as powers increase the duty cycle factors into the equation. This is most common at very high powered pro audio amps, where after a second or two, the limiting algorithms fold the power back to about 1/2 the rated power and in big powered speakers, the HPF may shift upwards and the crossover points may also shift along with the limiting thresholds. This was all started with Meyer, Renkus Heinz, Apogee and later with JBL, etc. This has allowed maximum performance with minimum damage and warranty claims.

I was quite recently recruited to be house bassist for a couple of local open mics, and then the organiser asked me to dep for their bassist for a gig. This then turned into two gigs on successive days as their bassist had had a gig in Wales (hence the first dep) but had also written his car off (hence the second one as he couldn't get back in time). After a couple of rehearsals, we went ahead - I haven't depped for a few years and then it was for bands that I'd played with before. First gig was a bikers' pub in Old Arley, near Coventry. The stage area was shared with a T140V Bonneville and a Triton (can't say more than that except it was a pre-unit Bonnie engine). Used the Sei Flamboyant 5 through my trusty Zoom MS-60B to the Tecamp Puma 900 and GR Bass AT212 cab. Footwear was the usual Caravelle memory foam trainers (a bit past their best now, but I have a couple of new pairs waiting). I noticed partway through the first set that the Sei was choking out on notes below the fifth fret, so took the opportunity between two songs to grab an allen key and quickly adjust the truss rod. Quarter turn looser and everything was fine - saved me swapping to the Cort Space 5 I had as a backup. Didn't make too many mistakes, just buggered up Gangsters in the guitar solo. The second gig was a Fathers' Day barbecue at the pub where one of the open mics is held (and that was thoroughly slagged off by one BC member a little while back). Same equipment and footwear, same buggering up of Gangsters. Evidence of dancing being perpetrated: