Chienmortbb

Possibly a slight tangent, but one of the things that is happening in pubs and clubs is that, because of cot of living concerns, footfall over the summer is way down. Prompting many to book semi-pro Karaoke singers. In this area they earn upwards of £125 per night. Easier to cover than the £250plus a band would charge. However, they are backed by the "empty orchestra", Karaoke means that in Japanese. From the venue and audience perspective, the "band" are always note perfect and well-balanced, as well as easy to control volume wise. The session musicians that make the backing tracks could be the first to feel the real heat here as AI could do a passable job of the backing track presumably.

Monza 1x10 has never lacked volume for me but the Monaco is more sensitive.

Truckload is made for rifle headstocks, Crimson do guitar finishing oils that are easy to apply and look great. https://www.crimsonguitars.com/collections/guitar-finishing

It is likely to be omnidirectional, so more prone to feedback. You can get cardioid headset mics https://www.audio-technica.com/en-gb/microphones/wired/best-for/presentation/pro8hex?_gl=1*1rbx919*_up*MQ..*_ga*MzA0NzkzNjQxLjE3NjE3NjA2ODY.*_ga_9B1Z5FDEW6*czE3NjIzNzA4MDgkbzIkZzEkdDE3NjIzNzA4OTQkajUzJGwwJGg4NTQ2NzE4Njg.

Look at the dispersion angle of the speakers and the distance apart. Generally straight ahead with a slight toe-in. Too much cross-fireing will increase reflections and cause dead spots at the side of the front.

Let's get some perspective, not every bassist needs a P Bass. However, if you only had one bass? P Bass. Why not a Jazz Bass? Body shape, more unstable on a stand and single coil pickups.

Over the years I have installed and removed many shims and the main advice I can give is to start small, as @Andyjr1515 says. I now use the matal shi,s from Warman https://www.warmanguitars.co.uk/product/set-of-4-brass-guitar-neck-shims-3-different-thicknesses-in-one-set/ Easy to fit and easy to change to a different thickness. The main thing to remember is that it takes several changes at each stage to get things just right.

Some people find the Tonehammer has a baked in sound that does not suit them.

It is a shame, I have often lusted after a G&L, but it never quite worked out. No doubt used prices will increase as they start to attain legendary status.

Yes the cabs I built were battenless so a very good point. However, the main point is that the glue is enough if you can keep it clamped supported long enough.

When I built my first basschat design, might even have been a prototype, I screwed and glued but if you are using Tuffcab, it does not stick well to metal or same fillers. The second cab I built screwed and glued but once the glue was dry, I removed the screws, drilled out the holes and filled with dowels. Once cut odd and sanded flat, the Tuffcab went on fine. Remember the glue is more than enough on its own, the screws just hold the panels in place while the glue dries. What glues to use? Nothing fancy. There is no difference between the strength of Titebond and any £1.99 glue from Lidl. Titebond and a few others offer faster initial drying. That is to the time that you may unclamp. However, almost all require 24 hours to full achieve fullstrength so why risk it.

I do expect to be corrected, but a distant memory says that there is only a small amp out of power available the USB being for communication rather than power.

If you use a huge rig, you will likely use either SMART or Open Sound Meter before the gig to set up your baseline sound d. This is effectively tuning to the venue. As working musicians we do not have that luxury but in my opinion you still have all your channels, EQ, Dynamics and effects set up in advance, tweaking slightly the main output for conditions at the venue. Of course if you set up in an empty venue you will need to tweak once full of mobile acoustic absorbers, (people) arrive en masse.

I did not really make my point very well. It was really that using mixed subs would not make a great deal of difference to the sound. I do agree that it is best to keep the low end from the tops, and even the high end from the subs is the best way of operating. There are those that evangelise the use of Aux Fed Subs exactly for that reason. Of course, there are others that say Aux Fed Subs are the work of the devil.

I think he was bowing to market pressure.

True, but it is an easy way to implement Muting. This is very true, In the UK, Profusion PLC are the ICEPower distributors in the UK. They will sell one unit. However, I agree that you will be throwing away money if the unit is not faulty

I did some testing a few months ago with my PA tops (Wharfedale Titan 12s Titan 12s) and Some JBL subs. Although the subs were the same, I tried the system with one sub, two subs, both with and without a high pass filter on the Tops. Although conventional wisdom is that the system with the HPF on the tops should sound better, I could not really hear any difference sound wise. This is probably due to there being very little real low end in most tops. Your SRM 450s have a little more low end than my Wharfages, but probably not much. I would guess that adding other subs would cause few problems, providing you can get the subs phased correctly. You have a 75Hz second order HPF on the SRM450 so that helps further. In reality, don’t worry about your system reliability, it has never let you down. There are probably better things to spend your money on than a sub you do not need.

You have to consider the system as a whole, with today's digital equipment there are delays, latency, propagation delay caused by both ADDA conversion and the finite time that the signal passes through the digital stages, each gate that the signal passes through causes a delay by any other name as transistors, the basic building blocks, cannot switch instantly. These delays happen in digital pedals, mixers, digital wireless systems for instruments and IEMs. The amount of latency that you can hear varies between people, and some chain to be able to hear 2mS. The is ballcocks, it is equivalent to one cycle at 5Hz. So latency adds any one component does not usually add an excessive amount. Analogue, as @Phil Starr says, has a compander, really a compressor, at the input and an expander at the output. This compresses the signal as it goes in to enable more channels to be used, and expends it as exactly as it can at the other end to rebuild the original system. Most analogue systems use UHF bands and frequency modulation FM. In most cases, the better the design, the better the end result. There are really two rules of thumb before you buy anything wireless. Do not buy anything on the UHF 863-865MHz band, and do not buy anything in the 2.4GHz band. Finally, do not listen to Scott Uhl on YouTube. The rules in the USA are very different, and most of the UHF systems he recommends are illegal in the UK.

To an extent, I agree with you, but one issue with passive electronics require a relatively high input impedance in the amplifier, mixer, pedal. High input impedance basically equals high noise or hiss. Of course, if you are one of those nutters people that prefer true bypass, there is no hope for you. As someone that makes cables for people, it is in my interest for people to need better cables and to make the case for a quality low loss cable but yes a Wireless system does effectively make the bass active (or more correctly buffered). Of course, I also make cables to replace the ones supplied by Shure Sennheiser and Line 6. Personally, I use both passive and active basses but if the Fender Precision were introduced today, Leo would have installed a pre-amp (MusicMan?).

Buffer?

Enable is the input used to mute the amp.

I have used Sticky Stuff to good effect in the past. It is designed to remove sticky labels but does not seem to damage surfaces and I have used it all over the house as well as for Tolex/Vynide. However, try the cheaper options first.

You will not find any service information for the amp, as with all major class D makes, Powersoft, Pascal and ICEPower do not publish any service information. The upside is the we, the users get a well engineerded power amp that saves on development time and keeps purchase prices low. The downside is that you cannot easily service them. Looking at the block diagram, the mute circuit is very early in the signal chan so it is likely that you power module is working. One small issue with this series is that the auxiliary supplies that power the preamp and signal balancing circuits are protected by fuses on the pcb. If there is a fault on the these lines you may get no output from the small signal circuits. These are hard to find and even harder to replace ( yes experience talking). In reality it really is a job for an amp tech, I am wary about advising on mains powered devices online.

The mighty Gut.

Before you do anything make sure it is the power module. The fact that the MUTE button mutes the hiss suggests that the failure is not there but elsewhere. Those modules are not especially noisy on their own. Before the module there will be a preamp and a balancing circuit as the 250ASX2 is it is two amplifiers working in bridge or anti-phase.