Chienmortbb

Yes, There were a lot of good points to the Subway, the voicing control and deep switch were great. However neither worked that well for me in a band setting. The EQ was nice but I tend to run flat adding any colouring via my Zoom Pedals. I decided that I needed a better PA so sold it on. It was very well built, a tad utilitarian in its design but if I wanted to go pedaless would have probably been a keeper.

I have only just noticed this, it was the original grille from the After 8 Combo. It now has a new grille that I will photograph later. Bought from SGS Metals on EBay. I will also link to that later. SGS will cut to size.

One of the things I learnt a long time ago is that you can have too much of a good thing. Like many other things in life you should not really hear the sub, any more than you can hear the LF driver or tweeter in the tops. Turn it up until you can just hear it then just back it of a little. The main thing with this Citronic Sub is it’s lightweight, small, well made and does what it is designed for. Even with a buggered left shoulder it is an easy one hand lift.

While in a perfect environment the “good” PA sounds better, would it have sounded better in that Pub? l alike you, I am not expecting the performance of a wall designed and powerful sub with a good set of tops but plan to use it to just fill that little hole at the bottom end, to help the Whatfedales, which I must say are seriously underrated speakers.

One of the things that annoys me, apart from my terrible bass playing, is speaker manufacturers specs. We have heard many times how the maximum SPl is often inflated by 6dB but many well respected brands will quote, as said above, their frequency responses at -6dB, indeed some quote is at -10dB. Some, RCF for example, do not even quote the limits. Wharfedale Pro quote their speakers at both -3dB and -10dB so you can compare. It is likely that if no limits are specified it is -10dB. So a Top that is quoted at say 65Hz as its lower frequency limit may well be -10dB down, a huge amount. By crossing over at say 100Hz, you ensure that the Tops can handle the parts of the spectrum that they were really designed for, the section where they. Really have a flat response.

I would not do that, let the PA tops do what they are designed for and cut off as though it was a normal sub. The important thing is to be able to invert the sub output to match the tops. The Thomann DSP crossover allows this. Of course it also allows you to experiment.

I would usually set the crossover frequency to 100 with a standard sub. It’s a good starting point. As far as the Thomann crossover does, I have the one with the power amps in but the software is the same. It looks a bit old fashioned, think Win 3 meets Win 95 but it is clear and easy to use.

Sadly I have buggerd my shoulder so the planned recycling project is on hold although I will be bringing a few cables to sell.

There will be some LFSys cabs there and no doubt there will be others.

That makes a statement!

To me, and it is my opinion only, the scarcity of Rolls products in the UK, price and the fact that it needs an external PSU, would rule this out for me , especially as it is many times more expensive.

Wharfedale Pro T-Sub AX12 21Kgs or 46lbs. They are made to match their Typhon 8AXF which has a similar spec to your QSCs.

It is separate subs that cause power alleys.

I was at an open mic night where a Blue Acoustics systems was used. Without doubt the best sound I have heard from any similar sized PA. Good shout.

A tad more info here.

If you have the original Silverstone, I had one too and in many places had to dial down the low end. This is more the fault of the rooms than the cabinet. I have since gone Monaco then, owing to increasing age and puniness, on to the Monza. One of the things I know about @stevie at LFSys is that he goes through many iterations of drivers, cabinet designs and horns to ensure the best result he can within the design parameters. Many well respected drivers are rejected during the design process. There are also minor changes as time progresses and my early. version of the Monza does not have the recessed handle now standard on LFSys cabs. Having just had a hernia operation, the lighter weight of the Goodwood does appeal but I am loathe to give up my Monza.

The remote had a spare battery and that also did not work. I connected the light to my DMX controller and it works fine. I had to re-learn DMX too, as I had forgotten that the addresses go up in 16s.

Don't get fooled. Most low cost "isolated" power supplies are not really isolated. The isolation they speak of is that each output has its own short circuit protection.

You will be missed DP.

I should point out that the tweed cable above is no longer stocked so is a special order. It makes a nice cable when made but is is no fun to work

Well it looks like I will be able to come as the tummy tuck (AKA hernia repair) has worked well. At a recent Bash, I was given a load of faulty cables. I am in the middle of going through them and repairing them. If Mike lets me, I will take a small table and display them to sell. They will not have the lifetime guarantee I give with my bespoke cables, but they will be good spare cables and I will guarantee them for a year. There are instrument (2-6m) and speaker cables (0.5-1.2m). Where the current connectors are usable, I will reuse them, where they are not, I will replace them. Most of the instrument cables will have a straight plug on one end and a right-angled plug on the other. The speaker cables will have SpeakOns on both ends, either Neutrik, or Rean. Prices from £5-10. Of course, I will still be taking orders for any special cable requirements you have in the meantime.

Paid.

Good Morning Little Schoolgirl was a favourite of the band Ten Years After, but also done by Muddy Waters, Mississippi Fred McDowell, Yardbirds, Grateful Dead, Rod Stewart, Van Morrison etc. As a young man just older than many schoolgirls it did not seem out of place but at 73? The problem is that most of the songs we do are talking of young men and their longing for young women although age is rarely mentioned in the lyrics. The one I have trouble with is Brown Sugar. It’s a great song but does it have racist overtones or is it just an historically accurate of days gone by? By all accounts it was written in about 15 minutes and the Stones no longer do it. What about the maddest appropriation of all, Swing Low as the anthem of English Rugby?

Mike, pm your payment details please. Not 100% sure I can make it but hoping to be there.

Can you post yours just in case it works for me?