Chienmortbb

Nice looking bass, what is it?

Our usual hall put up its prices, so I suggested using the rehearsal rooms at Absolute Music. These are well-equipped, but one of the guitarists insisted on taking his amp and the drummer said he did not like playing other kits, so would have to take his own. However, they have good rigs, TC, Orange and Blackstar. The College close by used to hire its music rooms out, and I used that with my previous band. They had Ampeg combos. Not my favourites.

In my experience, all DMX controllers need both the manual for the controller and the DMX protocol for the individual luminaires. I once bought some moni PARs where the factory had changed the DMX protocol in the MK2 but left the protocol for the MK1 in the user manual.

You will need to know the dsp/crossover settings that Barefaced used to get the sound right.

They have just restocked at my branch of Lidl.

That looks great. Well actually it’s hardly noticeable and that is exactly as it should be?

You my friend have very good taste in tipples

Strange, I have found the cabs a bit sterile when listening, maybe it was the amp settings.

Never got on with those, but horses for courses.

Return to gigging for me last night after a medical "holiday". The Rebbels played a new venue, Bluebird Social Club, Longham (just north of Poole and Bournemouth). My partner said it was "a dump" last time she went there, although that was decades ago. There was a vintage carpet on the floor, but it was tidy and the tables and chairs were new and pristine. At 7pm it was empty. I took both my Fender Aerodyne and my Kala U Bass Solid Body as I am recovering slowly from a rotator cuff/shoulder injury and could not even pick the Fender until last Wednesday. However, a good practice session at home was encouraging, and I started playing the Fender. After about 5 songs, it was clear that I would have to switch to the Kala. By this time, the audience had swelled to around 40, although the place still looked empty they were enthusiastic, clapping more than was just polite applause and some line dancers were on the huge dance floor from the start. The audience reaction seemed to energise the singer, who was not only on the top of his game vocally but great in between songs. Despite the audience size, we were paid £25 extra and immediately booked again for the new year. I returned home happy 🤩, but knackered.

First gig in a while for me, hernia op and rotator cuff uff injury means I have not played in anger since August. Still struggling so will take the Kala UBass Solid Body. Depending on the audience, might tell a joke about the UBass shrinking in the wash. However on Thursday I managed a session with the Fender Aerodyne so will start with that but change to the U Bass if necessary.

This is true of all electronic and musical instruments too. It is the joy of making, t(at is satisfying not financial savings.

I have a rotator cuff injury and cannot currently play my 34" basses. I have a U Bass (23") and it helps, but I am now looking at a 30". Not only that, but I am on a budget. I could probably stretch to £250, so what is worth getting? A bit of info, the Kala U Bass Solid Body is not as good as any cheap bass I have bought in the last 10 years, so I have been looking at Ibanez, Hartwood, Harley Benton and looking for advice.

You are correct in many ways, but the basschat designs are well proven, so building them is low risk and relatively low cost. This 8" design is not only proven but at two bass bashes, under blind test conditions, was chosen as the best of all the cabinets. It should not really be a surprise as the driver was chosen for its extended response, meaning that it sounds good without a tweeter. Some, although not all, of the other drivers were bigger and those that, were originally using a crossover/tweeter, were rewired so that the HF section was disconnected. Of course, like many blind tests, it is hard to make them completely blind, but it was an interesting exercise. However, blindly putting drivers in existing cabs is what BFM might calla Crap Shoot and the odds are stacked against you.

I am not sure this are 8” cabinets.

Not a trace of flavourwois be lost if that roof fell.

Twas always suspected!

I am not sure if I would like to be near the drummer when I suggest this.🎆

In the WiFi settings, you need to switch off Auto Join for all networks as if any are set to Auto Join, they will drop a network that has no internet connection.

That and Dance the Night Away are my idea of hell.

No, the Ui16 was noisier, much noisier. Don't get me wrong, there are features on the Behringer and Soundcraft consoles that are not on the CQ series but as far as the basic audio performance, the CQ is better. I know someone will ask so: These are my own thoughts and experienced users, especially of the Behringer Mixers, may well have different views Soundcraft Ui12/16 Pros, User Interface is a web page, so will work on almost any device without additional software. Has few features that the CQ does not, although many were added in the last firmware update. Demo of HTML Interface is on the website Can be fully controlled from a phone. Cons Very old design (over 10 years) Very slow updayes since Samsung took over Harman, Soundcraft's parent company. Noisy pre-amps/AtoD converters. The Ui24r is a later design and reputedly improved pre amps and analogue to digital converters. It also (like the CQ range) has multichannel record capabilities and unlike the CQ has a built-in matrix. Behringer X12/18 Etc Pros: Low cost Includes a Matrix, it's like an internal patch bay. Cons: Noisy Pre amps. Wi-Fi control unusable without external router. Old design Control Software updates very slow on some platforms. In my experience, the Wi-Fi on the CQ 18/20 is better than both the Soundcraft and basic Behringer mixers. Saying that, there are occasions when even the CQ suffers Wi-Fi issues. The CQ18 and has a built-in touch screen, so you never actually lose control. In hindsight, I wish I had gone for the CQ18 although the size, compared to the CQ20, is an issue. The good news is that the settings do not change on any of the above mixers if you lose control momentarily (UK meaning not US). I should say that @Phil Starr has an RCF M18 and as far as I know, has never had an issue with the Wi-Fi on that.

As you bring in more gain with both the Behringer and Soundcraft units, you can hear the noise in a quiet environment. It is much lower on the CQ series. I have not used the Ui24R from Soundcraft, but that has uprated preamps and is also reportedly very good. Dave Rat has an interesting video on the Behringer V Midas X32 mixers where he shows that the Midas version really does have better pre-amps and uprated A/D converters, sleight of hand on the specs of the Behringer show no difference, but in reality the Midas are a lot better. Whether this translates into a better end product is open to debate. I had a Soundcraft Ui16 for a while and the difference between that and the CQ20 is very noticeable. Whether all Midas consoles are that much better than the equivalent Behringer is unclear but seems likely.

The problem with crimp, especially those Faston crimps, is that they vary in quality. Some are too tight to fit on the blade and others are just too loose. At the speaker end, the issue is more that it is hard to keep the soldering iron away from the magnet. As for sealing the speakons, the speakons themselves usually form a reasonable seal with the panel. Jacks are a different matter. There are very few jacks that are sealed, and I once borrowed a cab the kept whistling. Of course, we all like a happy cabinet, but it was disturbing. The temporary solution was to put a jack plug into the unused socket. The long term solution, if you MUST use a jack plug, is to use the Cliff S1K Sealed Jacks. These can be purchased from RS, Cliff sealed jacks. Here is the PDF of the range. Cliff Data Sheet It should be remembered that these are rated at 5 amps. So 200 Watts into 8 ohms or 125 Watts into 4 ohms. OK for gig bag amps lie the Elf and Gnome but anything else use speakons.