Chienmortbb

I can’t afford a TE1200 at the moment but might just add a 1200 watt to my list of projects. The trouble is the list is getting longer, not shorter.

Sorry, this thread is about the IRRATIONAL prejudices.

What happens when you take small children away from there parents and send them to a single sex boarding school? Whatever you did don’t let them near the levers of power. Oh dear too late.

Stevie Nicks -Edge of 17

Unless you need the extra functions of the Wing, I would stay with the XR18. It’s not my favourite mixer but if it works for you it saves the hassle of learning a new board. Once you go up a step like that the extra functions can take a lot of time to master unless you go on a training course. That can cost almost the price of a new mixer. If you are minded to change, look at the AH ranges, but again learning curve and £££. Do a cost benefit analysis.

Those QSC speakers are well respected so unless you are desperate to “update”, I would look at adding a sub that you can take along only when you need it.

I did look at buying SH but all the sellers mucked me about or just wanted too much. Had I gone for a system it would have been the RCF EVOX.

Although not my main reason for going Point Source, Active PA cab was that I could add a sub if needed, as it happens I bought two of the 10" Citronic subs but the 8" tops have can handle almost everything except kick drum. I made the right decision.

Of course they would have to be For Sale first😊

I was looking at what I call "Sub on a stick" systems last year but apart from the Evox, all the others I heard had a "suck" in the response, something that was in the middle of the vocal range. I was looking at a SH Evox system but then realised they might not be enough. Most cannot go even as loud as a single conventional Point Source PA speaker.

I used my new Wharfedale Typhon 8AXF speakers last Thursday for Open Mic. The performing area is quite narrow, but the beauty of the 8s was you hardly noticed them. Sounded great with voice and Acoustic guitar. I went for the Wharfedale's as I had previously been fleeced* bought a couple of 12" Titans that are excellent. * I did not mean it @Phil Starr

I know they have used Anaview and Phonic class D modules in the past. Both would be over a decade old, and so they would be a write-off. What model is it?

I have had circuit diagrams from Ashdown in the past but as others have said, of late I just call and their service is second to none. You may have got through to the wrong person or I did once ask a question of Dave Green and he sounded a tad scolding when he gave me the obvious(with a little thought) answer. However he had gone above and beyond several times.

I did use them at Open Mic and they were fine. When I say fine, I mean they kept my mics clean without any detriment to the sound. On reflection, I should have added that I had no way of comparing with the sound of a mic that was not protected.

Let’s try to find a date and venue Phil. Incidently, the space for the “stage” was restricted at open mic and the 8” tops helped as even the 12” would have seemed intrusive. I was very pleased with the sound of the vocals and acoustic guitar. The nice thing about s sub of any size is that it is not in the sight lines of the audience.

That’s the ticket, turn every note into a dead note. Jameson never needed sustain!

To be fair, when I have been testing the system, I did run the tops flat and that gave a pleasing sound. One of the issues is that the Typhon 8AXF speakers have significantly more power than the single sub, so it would be necessary to pull back the volume on the tops a lot compared to the subs. I will be taking both subs next month.

Thanks everyone. No moogs expected but I think I now have enough info. I will make some short TS cables as the mixer will only be a short way away and I have a HiCon 3.5mm plug that has a screw in 6.35 adaptor to cover any headphone output. Just need to make the cable with two large jacks on the other end.

Unbalanced TS or balanced TRS?

Is that where you see geometric shapes of fluorescent colours slide across your eyes?

Is there a common connector used by all standards and makes of keyboards?

This is based on a message I sent to @JohnDaBass. My first outing at Open Mic night . I used a single Sub with two tops for an open mic on thr 12th Feb. I took one sub, it sounded good. I hade the sub set to 125Hz and in hindsight should have used 80Hz. I also had the HPF on 90 Hz on the Wharfedale’s and should have let the sub’s crossover take care of that. Over all the sound was good I did not want it Bass heavy but in the event had to boost a bit around 100-120Hz. In My band currently have no gigs until May at the moment so next outing is March Open Mic on March 12th. I will probably try feeding the sub(s) from an aux feed then. It was frustrating not to be able to just go and turn the sub up at times. Using Aux Fed subs means I can use the PEQ on each output to suite both subs and tops, rather than relying on what different manufacturers choose for crossover/ LPF/HPF frequencies. In a band setting, I would not be out front so the Open mic is great for learning what the gear can do. I did put the Kala UBass through it and it sounded nice, although I don’t expect bass will go though it that much at Open Mic. One of the performers had a Fender Acoustasonic guitar and it sounded great through the system. In reality I did. It really need the Sub, there was plenty of bass coming out of the Typhon 8 AXFs. However there may well be a couple of keyboards coming next month so will take one or both. On Thursday, I could have made do with just the Typhon 8s. There quoted response +/- 3dB is 65Hz to 20 KHz, enough to be used as a bass cab in all but Dub.

Wax candles work well on stiff zips too.

Well I ran my first open mic night yesterday at the Legion in Broadstone, Poole. I knew that one of the best Open Mic'ers around was on holiday, and although I have been pushing it for three weeks, I have not had much interest. I used my new Wharfedale Typhon 8AXFs and a single Citronic Casa 10 Sub. I mixed it through my A&H CQ20R mixer using two mics, one a Sontronics Solo, the other was a Behringer BA85A. Two feeds were also connected for instruments. Initially the sound was odd, then I realised that the LH top was set way down on the speaker, and it came to life. There seemed to be no performers present until I said that people could sing to a backing track. One of the lads got up and said he would get his guitar from the car. He told me later that it was a fluke that he had his guitar in the car, and he had not heard that open mic night was happening. I was shocked when he walked back in with an Acoustasonic, and he proceeded to play 6 songs, showing some real skill on the guitar. Later, another chap said he came, although he had almost lost his voice. Both he and Acoustasonic man said that they would be back next month. Finally, a few people got up and sang along to backing tracks. So although the attendance was small, I am encouraged that younger lad said he would bring his Dad on Keyboards next time and Chris, always good for playing as long as you want, is back next month. I am looking forward to it already.

You do have to think of this as a complete system problem, so the string will change things, as do the machine heads. One other thing that I have heard and I think it improved things, was to loosen the neck boys while tuned to pitch. This force the me as far into the neck pocket as it can go. Tighten the screws while still under tension. The other issue is shims, I have no evidence but the charge in contact area suggests a change in resonance. The other thing Fender found was that 2x2 headstocks work better than 4 in a line re dead spots. My Sire M2 has no obvious dead spot. The neck bolts are also staggered, is that crucial? Any luthiers want to comment? @Jabba The Hutt @manton @AndyJR81