Chienmortbb

I wonder how some live sound techs learns their trade. I went to a gig about three years ago. It was to see Glenn Hughes, former Trapeze and Deep Purple bassist/vocalist. Every time the kick drum activated, it obliterated the rest of the sound until the compression released and that seemed like seconds.I could just hear the lead guitar but the vocals and bass went west. It is not the only time the kick has dominated at a gig although the first where it so totally destroyed the mix. Now not all sound techs are like this but a lot are. What do you think is going on? Is the bass/wool heavy sounds of Dance music just altering the perception of a mix?

I have not seen the video but having disassembled a number of vintage pots, I would say put them to one side and fit new ones. The problem is that as the pots are used, the tracks become worn. The carbon tracks get a groove worn in them and the pot wiper wears out. There is little that you can do to change this. My advice is to replace them with new, Conductive Plastic pots. These are much longer lasting. They cost more than carbon pots (although probably cheaper than CTS pots) but they will probably last much longer.

Snap, just coming out, hopefully of a chest infection compounded by a second infection to my throat. Had a gig in the middle and it was close by so we did not cancel but I did not sing, due to both my stupidity in forgetting my mic stand and the throat. I am just waiting for the other members of the band saying the vocals were better that night.

I just don’t trust Google. I avoid them as much as possible.

I saw a band do this last year so I asked them. The answer was that the set the speakers up and then turned up to a volume where feedback was just not occurring, Then adjust the other instruments to the vocals.

The vast majority of Hotmail and gmail users are legit but many of the scams I have found have had Hotmail addresses.

I blame you two if I am wasting my money ZARs. Incidentally what shop did you buy them from?

I think that so many gmail/hotmail accounts are used for spam at best and illegal communication in particular, so it is not surprising if some emails systems block them. I have always distrusted those free email providers but then it is easy to set up a dodgy email service for a few £s.

Once I have the replacement I will post pics of the wjole kaboodle.

All good advice @Phil Starrbut one thing to say about dust. Mos of the dust/debris inside pots is caused by bits of carbon that flake off the track in use. It’s one of the reasons I chose conductive plastic pots on my builds. They last more than twice as long as carbon pots but of course also last twice as long at least. From a manufacturer’s point of view, especially a “value” brand such as Behringer, the extra cost of pots with a conductive plastic track could make a mixer uncompetitive.

Having worked on Behringer mixers, I would not try to do too much inside. Yes shoot some cleaner, Preferably DeOxit as it is designed for pots. The other thing to try is literally rotating the knobs back and forth 20-30 times, sweeping the full rotation of the pot. it helps temporarily to clear some of the clag.

Were you in the Bar or the Skittles Alley, we have played both. The Rebbels played Marnhull a few weeks ago. I agree about the acoustics, we were constantly asked to turn down, although we are not the worlds loudest band. Which pub did you play ion Shaftesbury? Shaftesbury is usually a live music wasteland.

True. I was going to but…, I got my tools out and started to adjust the relief then the string height. I got the relief spot on but the bridges would not let me lower the action to a sensible point. It’s going back but a replacement is on its way.

Fine with 2FA but Google....nah. They are the Evil Empire. Will try the other way.

Takes me back to my time at Panasonic. When we did a big trade show everyone from the department manager to the order clerks were roped in, wearing casual clothes to load and unload the trucks and then place and connect all the equipment on the displays. Out biggest rival (usually) were another Japanese company, a four letter word beginning with S. They had a Rig crew and all the sales and technical staff just appeared from nowhere on the day of the show. Our sales guys learnt more about the product on those pre-show days than they ever did on formal training and it really did encourage both team spirit and bad backs.😃 I suspect @obbmwill tell a different story!

I have had my Monza now for a few months. I deliberately held back from commenting until now. I don't want to go over too much history but I have had all of @stevie's recent designs back to the DIY cab, the BC112. I had a Silverstone when it was made and had my Silverstone converted to a Monaco some time later. All are/were excellent cabinets but like many on here I am getting older and am looking at ways to reduce the weight of my gear. So I have ended up (so far) with the Monza. As I have left reviews of the other cabinets soon after I acquired them, I have waited to have a few varied gigs and rehearsals to give my three pennyworth. The disappointing thing is that I have little to add to what others have said. One of the halls we rehearse in has horrid resonances for bass and this was definitely a real problem for the Silverstone but the Monza took far less drastic EQ settings to get a good sound. The gigs have varied from pure rectangular rooms with no real damping to purpose designed clubs with lots of carpets, curtains and soft furnishings. Each so sonically different but with each, a small adjustment to the bass control on the amp got me to where I like to be. It is light and easy to carry with the same top handle as the other LFSys cabs. It is lightweight, although not the lightest on the market but certainly an easy carry for this 72 year old.The custom (Hot Covers?) LFSys cover protects really well. I use a Zoom B2-Four both as a tuner and for some tone shaping on some songs, what stands out on all @stevie cabs is that I can really hear the differences between the patches. The differences are not great but I can hear the changes almost as clearly on stage as I can at home practice. Like all the LFSys cabs, the real difference is the dispersion. Despite being well over 6ft tall, I can hear myself clearly even when directly in front of the cab. Although the dispersion is biased towards the player's head, the horizontal dispersion still really helps getting the real sound out to the whole audience. I have never got the cab anywhere near to its rated power, my amp(s) both poke out about 700 watts into 4 ohms but fewer than 400 watts into the Monza's rated 8 ohms. Rough calculations say that is approaching 120dB with the amp(s) full out. I know one BCer has two of these and that would make a monster rig. Its not as small or as light as a Barefaced 10 but it is a totally different beast. Could you carry it around on the Tube/buses? probably not. However there are no compromises made with this cab and if you want a simple one cab solution, I can recommend the Monza. So there must be some cons, if I am being picky, its a long way down to adjust the amp when you are a long steak of wee. Also when you first use it or any of @stevie 's cabs. you may need to turn up. Certainly when I first got mine, the reports were that the band could all hear me well but I was too low in the mix. I was not used to hearing myself so well and had turned my volume down. On the plus side, below is a real picture of me about to set off for a gig. The Monza is on the right and the other two speaker are my Wharfedale Titan 12"PA speakers. The car is a Ford Puma and the tailgate did shut with my amp box and leads box tucked in the front of the cabinets. Please excuse the random bass stand and the small case and long blue bag are the two parts of my mic stand.

You did not say that before I bought them…. Seriously though I have used @philstarr Wharfedale Titans. For vocal PA only they are really good. The other issue is that the are so light. An ideal speaker would have a concrete cabinet but apart from that an MDF can give the lowest resonances. Trace Elliot made many cabs from MDF, hence the weight.

The Rebbels gig at Oakdale Conservative Club, Poole was great AND a nightmare. I forgot the usual analogue desk for the PA and monitor amp so had to rely on my backup kit, Allen and Heath CQ20 Digital Mixer plus using my spare bass amp, Asdown Retroglide 800 to power the monitors. The first problem was that I could get no sound from the monitors even though the signal was getting through to the amp. Luckily the singer has two powered mixers. We quickly drafted one of those to run the monitors. finished just in time for the obligatory pre-set toilet break. Half way through the first set, we had no monitors. We carry on like troupers until the break. I trouble shoot while the Bingo was on.....after checking every cable knob and the computer screen, find that somehow the gain on the powered mixer channel had been set to 0. Now I do not believe in fairies, elves or leprechauns (except on St Patrick's Day). The singer swore blind he did not touch it but knobs do not turn themselves down. So the Bingo and the raffle finish and on we go. Second set, went OK although I completely forgot the key of one of our new songs. PIcked it up after about 4 bars though. Oh and I also forgot my mic stand but as I had a sore throat, it was probably a good move. There were dancers on the floor almost the whole night and we had some good comments from the crowd and the staff. All in all a good night despite the stress. The final bonus was it was only two miles from home😃.

Good news. I would not go down the step down transformer. If you think of the power of that amp….

It is not worth buying the PF500 second hand as the first 7 or 8 iterations of the printed circuit boards had major design issues. The PF800 and PF350 seem to have avoided them.

Go easy on the OP guys, he said he is looking for information, not wanting a near bashing. Also regarding IEMs, they are great but you have to get buy in from the rest of the band as it will probably cost a lot in total. With my lot of dinosaurs, it’s a non-starter. Once the OP give a full explanation we can try to help.

If something is unique and offers something others do not, some people will buy them and there is nothing wrong with that. The Mesa Amps that @agedhorse designs are fully featured, arguably better featured than any others. I would love to try one but I cannot justify the expense. As a weekend warrior, it would take a year to earn enough to pay for one. I could afford one, who needs a funeral fund anyway? However I will not. As a big RHCP fan I stupidly thought that I needed a GK rig. I flipped in in less than a month as I could not get on with it. Everyone’s opinion is valid but if someone none is happy to pay for a Mesa, so be it. Finally, it is rare for a manufacturer's representative to post on BC and @agedhorse often adds wisdom and clarity to the discussion about amplification, with years of experience to back it up. I am glad he is willing to post on here.

Apologies for the lack of pictures still but I only have brief periods to look at it. The neck was far too straight so I got the capo, feeler gauges and Allen key ( hex wrench). Tomyrelief (sic) the truss ros adjusted easily. I quickly made the adjustments to set the 0.35mm clearance at the top of tb3 frets at the 7th fret. In fact I always check both the 7th and 8th frets. Next was to adjust the action/ string height. FAIL. I now have to look up how to adjust the height of the individual bridge pieces. More soon

A better explanation than I could have managed.

Oh dear. My finger slipped and I accident my ordered the G4M…, I did not want SWMBO to know so I did click and collect from a local post office. I will do a review/NBD with pictures in a day or two but i ritual thoughts. It looks almost ad good as it does in the pictures. The finish is good on the body with just a couple of tiny blemishes that measure less than 1mm across. The neck joint is a good fit, no gaps although the lower part of the body at the neck joint is not perfect. The neck is a lighter shade than I expected but hey. lt looks like there is no finish on the neck but it is a colourless silk finish and is much nicer than a traditional gloss lacquer. There are no sharp feet ends although they look like they could do with a polish. A quick look seems to suggest there are no really high frets. It is a precision, so the neck is 42mm wide, I am used to 38mm on my Fender Aerodyne, Sire M2 and Peavey Milestone 4. At first look I think the string spacing is the same as my other basses , the extra width allows more margin at the edge, so that the strings will not go off the edge of the fingerboard when playing enthusiastically. There is very little relief on the neck, I will sort that out tomorrow. To be fair both the Fender and the Sire need the relief adjusting. String height is too high but all my basses were like that when I got them. The pickups are way below the strings and I hope that it’s why the volume is so low. Sorting out the relief and then the string height should take care of that. One of the areas I hate in most basses are the machine heads. The Grnder ones on My Aerodyne were far from ideal and were replaced with Goto Res-O-Lites. The Sire had awful machine heads, they did keep in tune but there was som much backlash, that it was hard to tune initially. They were replaced with Hipshots. The initial impression on the G4M is quite good. Little backlash although the tension on the four is not consistent. That can usually be adjusted. The Low E is slightly wonky but it can be rectified easily, It is quite flat, stated as 15” radius. My Aerodyne is 7.5” but it seemed OK. The nut is not plastic but it works so I won’t touch that. As with most budget basses, the strings are not to my liking. They are extremely light gauge strings, maybe because it is described as rock/metal bass. There seemed to be a lacking in low end but the E string is only 90 thou so I am not surprised. If the pickup is lacking once all those things are rectified, A Warman or Tonerider will not cost the earth. I will do an NBD/Review based on these notes but I will expand.