Chienmortbb

Many people cannot say it properly.

Hi Alex, All these recommendations on here will serve you well, however, avoid the Vovox cables. Snake oil at best. To start with, especially in an instrument cable the most important part is the cable. Whether is low loss or ease of coiling. The other thing to keep in mind is length. I sell three types, Sommer Tricone 2, Sommer Tricone XXL and Sommer Spirit LLX. Over 6 metres I would always use the Spirit LLX, it is very low loss and coils really well. It is a bit thicker than the other two, but that is the price you pay for low capacitance, low loss. The upside is it is so easy to coil. Up to 6 metres, you can choose either of the other two. The Tricone 2 is a nice cable and recommended for general use, the Tricone is slightly stiffer and as a result does not twist or tangle as easily as others. Connectors, for instruments, if you want a cable to last, use Neutrik Jacks. They use conductors that are made from a single piece of metal. One of the biggest failures in jack plugs/cables is riveted plugs. If you are going to be a bit rough with your cables, chucking them about etc, avoid Silent Plugs. XLR/ Balanced cables. By using balanced cables, you avoid many of the issues of the ones noted above for instrument leads. Again Neutrik make the best XLR connectors, although the choice of make is not so crucial here. For cable, I stock two types, Cobra, a budget cable and Sommer Stage 22 thinner than the Cobra and slightly better specified. I will send you an instrument lead price list later, and can give you a quote for XLR cables once you tell me your exact requirements.

That is the usual recommendation for HiFi speakers but they are in quiet rooms. 20 is fine for a bass cabinet in my opinion.

I think this is key, no matter how good any of us are at playing consistently, I for one are crap at that, so a looper will take the variable out of the mix. Of course the size of @Phil Starr’s banner is limited so it would be hard to hide an Ampeg fridge stack. It is also difficult to compareFRFR cabs against this with the “Olde Skool” sound of older cabinets of the BF110. We must also keep in mind that the this will be as impartial as possible but it is not going to be definitive, it should be thought of as informative. Not to belittle the tests but it also needs to be fun. It will give you pointers and expand your knowledge, maybe helping your future purchasing decisions as part of a process.

True, but whether the BB3 is FRFR depends on the tweeter setting on the cab. It cannot be flat at all settings and IMO EQ/Tone happens at the bass and/or amp, not the cabinet.

Just landed in my inbox, thoughts? https://youtube.com/shorts/FK6B7kPO5Wc?si=KTrM1smCbpEEXvQB

Judging by the pictures, you are very close to the edge of the fingerboard on the G side already, moving the bridge might be risky.

I was also going to recommend Armstrongs. Kent Armstrong was Dan (Danelectro) Armstrong's son so his dad knew a bit about Lipstick pickups.

Last night I set the gains carefully and gut all three vocal mics sounding fine. However the monitor sound was distorted. Floor monitors were passive and driven from one channel of a power amp. We were not using channel B but last time I used it I used channels A and B with Channel A input paralleled to Channel B. I could see the signal light on Ch B flashing so turned the level down on that and the distortion went. It does not make sense to me but we finished setting up in good time and had a great gig.

Not last night, but last week. We played a garden party at the drummers house/garden, all fairly relaxed, and so I took the little Behringer analogue mixer. WE took great care in speaker and mic placement and for once had bags of headroom before feedback. Monitors nice and loud for lead vocals and although I could not really here the BVs well, I was not bothered, it was a bit of fun. We had a quick listen to the FoH vocals without the band usually, and it seemed OK. We usually wander out front during soundcheck, but not this time it was for fun... First set went down well, but the sound was described as "sizzley". I listened to the speakers with no signal and there was a pronounced hiss. Not too bad, I thought, so I carried on and set up a camera to record the second set. All was well, lots of nice comments. When I played back the video yesterday, I realised that the gain on the Guitarist's mic was up way too high and because the monitor mix was wrong, we did not realise that he was clipping badly. That was the sizzle reported. Another lesson learnt, thankfully not on a paid gig.

This is odd. There is no reason that the singer should get a shock from a mic unless there is a fault on the mixer and that would be unusual. You need to measure the voltage between the mic grille and earth. It should be very small, millivolts ideally.

I fitted a Classic P to my Aerodynalike, but it is a tad on the bright side for me. Their Duke seems to be popular on here, has anyone compared them?

Jim Marshall did use some of the Fender circuits at the start, Fender's were based on the RCA sample circuits and the later Marshall's took their power amp designs from the Mullard Audio books.

As the title says, we now have a PA subsection of the Amps and Cabs section, can we have a separate For Sale Area too?

At the pub/club level, I doubt that. The pubcos really screw the tenants, and the clubs cannot have enough buying power to get booze at good prices. Of course, some clubs do enough to warrant an entertainment allowance from the drink supplier (I know one club that got £8K in 2017). Of course, that is factored in to the price the club pays for drink.

This discussion should really be on the SW bass bash thread. So I will post my ideas over there.

THERMS rarely come up for sale on BC. Must mean something.

I wonder whether the “professional karaoke” singers are now doing the same to pub bands. Play in clubs and pubs where bands, trios and above, are featured once a month with the other 3/4 Saturdays being “solo singers”. it may also add to the death of good singers in bands these days. Why work with a bunch of musicians who steal your fee? Backing tracks don’t need weeks to learn a new song, don’t fall out and do not want a say in the set list. They charge £125-150 and we, as a four piece, struggle to get £300 between us. However that £150 difference is a lot of wet stock to sell for the landlord.

Garden Party for us.

Can we ban this term? Rock n Roll ain't noise pollution.

The only reason I swapped my Monaco for a Monza was weight and size.

I stupidly made the board before measuring my pedals. I might make this my "small board" and make another to make the layout easier. I have some more PCBs for the power supply, so keep your eyes peeled in a month year or two.

My homemade pedal board with built-in power supply. The perspective is a bit skewed as all the pedals are level with or inside the edges of the pedal board. For anyone that knows the mic mechanic, I don't use those settings. Just for info, the power is from two 550mA discrete switch mode power supplies. The IEC input is on the right-hand side. The two left-hand power sockets to the Zoom and the Thomann wireless system are connected to one power supply, and right-hand sockets supply the Mic Mechanic with one socket spare. I designed it that ways as on the usual cheap power supplies, there is noise induced from the Mic Mechanic to the Zoom.

They need to US price $49 Europe £75. Over twice as much in today’s exchange rate.