Chienmortbb

I had that once, but I was not waiting for the amp, and it arrived before their estimated date, so all good. I also bought a bass from them, delivered quickly and in good nick.

The recommendations from Neutrik for various wiring schemes for speakONs is shown below in the screenshots from this document. You will see that nothing should be taken for granted. I have used this guide on 100V Line systems where the step-up transformer is external to the power amplifier. It ensures that there is no possibility of putting external cabling connecting the wrong pins.

They often think they can do everything. Piano. Organ fine and oif the song needs some brass or woodwind, OK.

So true, a Fender Twin fed with a Telecaster bridge pickup is very clean and not at all musical. In fact, it is downright nasty but not in a good way (this is my opinion and is true, no argument will be accepted). Bill is also right that traditionally, speakers were given a warm or coloured sound (incorrectly called “voiced” by some) to give a certain sound. This can have more effect on your sound than the amp. Valve amps can get their sound/voice from several areas, the pre amp, the power amp and if using a valve rectifier, the power supply. It is a complex arrangement sonically, and not all vintage valve amps got it right. * At the South West Bass Bash in October we did an amp shoot-out and most people thought the all valve Ashdown and the vintage Trace heads sounded best, BUT the test was not blind so all our prejudices were in play. *I am not sure who said that there is no point in having a mind if you can't change it. After watching this, I changed my mind.

The Hamsters used to do this on one song. It was sickening to see such talent as the standard did not drop one iota. One band I wish were still going.

No but he could play it!

The input impedance is 600 ohms. Far too low for a bass/guitar although some active basses would be OK with that.

I would not use either. The bass that you are not using will be a parallel impedance to the bass you are using. This will affect your tone, and not in a good way.

I have bought many K&M stands in the past, in fact, I have a small K&M boom arm on my Studiospares stand. I was going to buy a Konig and Meyer stand, but they are out of stock everywhere. I finally settled for a Gravity stand. https://www.gravitystands.com/en/products/microphone-stands/12182/ms-231-hb?c=611 First impressions, good. The clutch mechanism is great, smooth action but firm when released. Attaching the base was not easy, but once attached, it was solid. So far I am happy and it cost about half the cost of the best K&M stand. It is designed and engineered in Germany, but there is no indication where it is made. I will report back once I have used it a few times.

A’re you trying to annoy me?

When I started playing, there were Tuning Pegs on many stringed instruments, but on electric guitars there were machine heads. There were no "Tuners" we used pitch pipes and our ears. You can tell this on some recordings from the 60s and even 70s. Now we have electronic Tuners, people insist on calling machine heads tuners. You can call a dog a cat, but do not expect it to catch mice.

I love the story of why Strowger developed the automatic telephone exchange.

I have a reasonable Studiospares one hand mic stand. However, we are often restricted in stage space and four tripod bases is a headache. I want to buy a round based stand, but it must have a good, easy height adjustment. Obviously, a one hand from K&M is the gold standard, but what is everyone else using?

The power amp does but the Valve preamp is most certainly not Class D, it is probably Class A.

Agreed. A little on a plug inserted and rotated. I remember that you could buy dummy plugs that were slightly abrasive, but I have never used them myself.

An amplifier will be able to provide a certain voltage and a certain current. As a general rule, the power at 4 ohms (or lower) will be limited by the available current and at 8 ohms, the power is limited by the voltage available. For example, 500W into 4R (R is the correct abbreviations for ohms) is, 500/4=125. That is the current squared, so the current is just over 11 amps. At 8R, 250/8=so the current is 5.6 to get the voltage, 8Rx5.6Amps=45V approx. So the power supply is capable of a voltage of approx 45V and 11 amps. That is basically a 495watt power supply. All good. If am amp is 500 watts into 4R and say 300 watts in to 8R, then the power supply can only supply 11 amps. If the power supply has a voltage supply of say 49V, then we achieve the 300 watts into 8R. The amplifier is current limited at 4R, in that the power supply cannot supply any more current. Now, the actual voltages will change depending on the topology of the amps, so please do not criticise the maths. A good old class A/B amp will usually run on symmetrical rails, so will be powered by approx +49V and -49V. Some class D amps using BTL or PBTL topology will work on a single voltage rail, but the same principle applies. The power supply will be a determining factor in the overall power output of the amplifier at different impedances.

I have been looking too, I have a Soundcraft Ui16 but having seen the lack of support from Behringer and Soundcraft/Harmon/Samsung, I have been impressed with what I can see of Allen and Heath. I am looking at the CQ20R, but if you want physical faders then you may need to go up the range to the Qu or Sq ranges. There are nice offerings from Zoom amongst others with faders.

Those were my thoughts exactly, but as I have no real idea of the quality or otherwise of power in the US or whether it varies State to State. I did have one amplifier where the overvoltage protection was set for 240V, but our mains voltage, at my house, is usually 245V. Luckily it was a prototype I was checking, and the production units were fine up to and beyond 253V AC.

I had a few hours to kill while herself was going around the Range, Matalan, Pavers and Dunhelm. So popped into Absolute Music. I was moseying around the speaker display when a keen salesperson asked if I would like a demo. So off we trotted to the biggest rehearsal room with a pair of HH TRE 1201s and a pair of RCF ART 912s. I tried some of my favourite tracks on both, at medium then loud volume. At medium volume there was very little to choose, as the volume was increased the RCFs kept the high-end clearer and more defined. I could feel, and I believe hear, cabinet resonances in both speakers, although more so in the HHs. The RCFs are bigger and heavier, so I suppose that would be expected. Were the RCFs worth almost twice the price of the HH? Clearly, it does take a lot of money to get small improvements, but whether the extra cost is worth it probably depends on how big your bank balance is. The HH are £299 and the RCFS £550. Either would be more than adequate for vocals only and work fine with a sub.