Chienmortbb

Tantalum capacitors are usually not recommended for audio circuits so why do you think the electrolytic is worse, or am I reading your reply wrong?

You could have a unity gain amplifier.

"Have you tried switching it off then on again?" Seriously, I am glad you have got it sorted.

Because a user cannot know what effect she/he is having on the cabinet characteristics. Also, there are many things we did 50 years ago that we do not and would not do now. Indeed, Child labour in the UK was only really banned in 1944 when compulsory state education was introduced.

This is probably better described by@agedhorse earlier but... To get maximum voltage transfer, the input impedance of the amp should be at least ten times the output impedance of the preamp. A bass head will traditionally in the region of 1 Meg ohm or one million ohms. In that case, the 12K output impedance of the Sadowsky is fine. As it is, you are losing approx 1/2 the voltage output by your preamp due to the low input impedance of the Sumo. You could connect half the balanced DI output on the XLR. Although you would lose half the output, -6dB, you would regain it due to the lower impedance and if we assume that the DI output is at line level, it will be much higher. This assumes that the DI output is at a professional line level, 0-4dB.

Of course, some bass cabinets are flat and have a full and have flat frequency response or transfer function, ideal for either modelled sounds or the traditional Head/Cab use. However, even those will sound different due to both the specifications of the drivers used and the design goals of the designer(s).

Bill is correct, but of course some "tops" with DSP have a monitor setting or even provide a high impedance input suggesting that guitar/bass is allowed or even expected, but a "top" capable of handling a bass at volume, without a High Pass Filter is both expensive and rare. I would use your Ampeg Pre-Amp pedal into a lightweight (compared to your EBS) head into a good cabinet. I am not going to recommend any particular amp or cab, but the main difference between amps is the Pre-Amp. As you have the Ampeg, look for an amp with a good power output with the ability to bypass the front end and input to directly to the power amplifier. As for cabinet, look for n uncoloured cab (the colour is in the Pre-Amp). The main thing about a PA top, such as the QSC 12.2 is that it has a decent crossover, compression driver and horn. Very few bass cabinets have this, so even those with tweeters are a significant compromise. Also avoid cabinets with adjustable tweeter level. This suggests a lack of confidence in the design. Your bass and preamp can reduce the treble, so why put an attenuator on the cabinet?

Not had any problems, have you asked on the A&H forum?

You do not say what the new speaker is, but I suspect it will go very low but is very inefficient. The rubberised surround suggests big Xmax, low efficiency. Without modelling it, the results may not be as expected and as experienced designers will tell you, modelling really only gets you 90% of the way there and if the cabinet is tuned incorrectly, that 45 watt rating may be too optimistic.

What Tuner are you using?

Are you using the asio4all driver?

I think this is how I got my current place. However, the rhythm guitarist's health is deteriorating, but he won't admit it is time for him to hang up his Strat. If nothing happens soon, and the BL has been told in no uncertain terms, I will be on JMB, and they will be looking, probably in vain, for a new bassist.

I honestly don't have a problem with the volume control, yes it can be a bit noisy, but it is not that objectionable.

Me too, when my MacBook Pro died after 12 years faithful service, I could not afford to replace it and bought a Windows device. In all matters audio as well as most other things, the Mac was superior. WTF are drivers? The hiccups come with the dominance of MS Office, although Open Office or LibreOffice can do 90% of what the MS Office Suite can do. Anyway, I am saving for a new MacBook.

I always think the idea of the Low B is not to use the low B but to allow you to go a few semitones below E.

Has anyone ditched pedals entirely.

Too much fuzz for my liking.

Two Monzas? That a 2x10 stack. If you need more than that, you are already deaf.

I bought some speakers from @Phil Starr about a year ago, Two Wharfedale Titan 12" Active tops plus two JBL 15" powered subs. I have used the Wharfedale Titans before on their own but wanted to try them with the subs. The subs have a built-in LPF/HPF, but I still set the mixer output with an LPF/HPF centred on 100 hertz and fed the tops with an HPF with -3db at 100Hz. When I switched the system on, there seemed to be little bass but inverting the sub signals brought in the low end. I was surprised by two things. Firstly, the sound was so much fuller but secondly, the increased low end seemed to be coming from the tops. The overall sound seemed much louder. I had the subs together in the centre and used a selection of music recorded before they started compressing the heck out of recordings. The final test was to remove the HPF/LPF from the subs and rely on the internal filters. I could not really hear any difference between the internal filters and the one in the digital mixer.

I can understand your purchase, as you say, “no one ever got fired for buying” happens in every industry. I was in broadcast video for a while and it was Sony, anything Sony. Is the SM58 the best live vocal mic for live work? IMHO no but it is perfectly usable, robust and spares are easily obtained. I think the problem is that some people think that the SM58 is the mic that makes them sing well. No mic can do that. When it was introduced, there were few mics around suitable for live performance and it was the best. It is still probably the best seller and that means Shure can keep the price high. In my band we have SM58 (singer) Behringer X8500 ( lead guirarist), Sennheiser 935 (rhythm fatalist) and Sontronics Slolo (me). All are more than acceptable, especially with the right EQ.

Sadly it was the late 60s so I had no knowledge of the complexities of speaker design of concepts. It was a heavy 12” 100 watt speaker with a quoted sensitivity of 100dB, at a time when most 12s were 25/30 watts so at least 3-4 time better innit. 😉 Honestly it did sound loud

Why do you get grief? Admittedly there are microphones that others prefer but the SM58 is not a bad mic.

What could you do if your mixer does not ( yet) have pre-delay. Is there anything else you can do?

This is not the Wordle thread!

Of would be a dull old world if we all liked the same thing.