Chienmortbb

This is a basic principle.

That is an LPF by any other name. So well placed it will cut the HF noise. What cable did I use? I suspect it was Tricone 2, that has 95% screening from memory. Spirit has close to 100% but I have never had any issues with Tricone2. Most of my cables are made using it.

You need better cables then Phil. In saying that, it may be the output impedance of the Line 6 being much lower than a passive bass?

Have you met my band? The singer was convinced we had a faulty cable causing feedback once!

Thanks to everyone that has replied. Regarding mic/speaker placement, almost every gig I tell the band that they have the monitors in the wrong place, to cardioid and two hyper-cardioid mics. Try to tell them that the cardioid pattern is not flat but in fact more like and apple and the smoke starts coming out of their ears.

I am actually subscribed to that channel but somehow missed that video. I think the centre fill speaker is meant to help although the height, on top of the subs, does not get through to the middle. However, as he says do the best you can and don't fret.

How did you and your bass get that small?

I am still getting used to my new toy but i tried the nearest approximations to your suggested sessions last night. I had my phones on and listened to myself ( I do not claim to be the best but I can sing on key) I even liked the sound of my own voice, unreal. The settings are subtle, at first you are not sure there is much going on, until you switch to just the dry signal. I always run with an HPF of about 100, but will try a higher -3dB point later. The AH CQ also has a male vocal preset and that really thickens up my voice. It does not make me a George Ezra or Rag n Bone man but it did help my Elvis impression. Thanks for your help it really is appreciated. On the subject of physical mixers, at Panasonic I had access to a number, often using the one below. I also had one of the DA7 desks, after Yamaha, one of the earliest digital desks but never really had the opportunity to use it in anger. At the time, the dynamics were superb from memory.

Thanks, I also use an HB 5.8GHz, I forgot about that. I blame the EU!

We have been rehearsing Tiger Feat and its not as simple as it sounds, Its quite hard according to one of our guitarists. Mud went up several notches in my estimation once I started to learn it.

It does and my thought is that the Toe in on one cab is slightly different to the other so that any reflections do not add. Of course the other thing is to angle the cabs down slightly.

LIke Phil I would investigate the PA further before buying a new bass cab. I would not rule it out and remember that the you may need a cab at some point. Post the make and model of the PA speakers and we could comment further. Rereading your original post, you have passive speakers. There is little real work going on as far as development of passive boxes and those that are out there in general will not do what you want. Also look at the amp. If the singer cut corners, and it sounds like he did, the amp just may not be up to it. Spotify tracks are compressed to hell and may sound better than a live performance. There will be limiters and protection circuits on the amp and they may affect the sound.

I was running my CQ20 on Bluetooth and got dropouts, so changed my WiFi on the CQ to 5GHz rather than 2.4GHz. Has anyone run 5.8GHz IEMs or Mics alongside 5.8GHz WiFi? Our singer has just bought (without consultation) a Joyo/Legato system that is supposed to employ Channel Hopping to avoid clashes but I am curious/dubious so want to hear the experience of others.

My question is really meant for discussion about front of house rather than on stage monitors. Apologies for the long introduction. When using our own PAs, most of us will be using the "virtual" point source source cabinets. The type that have a woofer and a tweeter in a cabinet on a pole, with or without a subwoofer RCF Art series etc. Some are now going over to the sub on a stick/tea chest bass systems characterised by the Bose systems that have a miniature line array of multiple small speakers, all mounted at slightly different angles horizontally, allied with a subwoofer. The effect of multiple small drivers, as i understand it is firstly that the sound can be steered into the audience, and that the changes in angle help reduce feedback. Going back to the the two per side speakers, is there any benefit to angling the two speakers asymmetrically to try to cancel reflected waves? What I mean is say to point the speakers at opposing corners but not at the same angle. I will add some diagrams later to explain what I mean.

These settings are going into the mix for our next gig, don't tell the singer though.

I wonder if the dance music and hip-hop generation are pre-conditioned to want excessive low end? Our gig was on Friday so went to our local club. I don't usually like "professional karaoke" singers but this bloke could really sing. In the interval he put on some "backgroud music" that was so bass heavy it would have drowned out the sounds of a full scale Red Army onslaught. When I was being trained as an apprentice on both audio and video, the general rule was to turn the controls until you could see/hear a difference, then back them off a tiny amount. Nowadays the control knobs/faders for the bottom end are rammed against the end stops. It is a good job that most digital mixers use rotary encoders or even touch screens for control.

Most compact digital mixers have a monitoring app. Soundcraft call it Me2 for the Ui series, Allen & Heath have CQ4U for the CQ range. I am not sure about Behringer/Midas or RCF's M18.

We played in a Village Hall last Saturday and I had the same experience.

Sorry no pictures, WE also played the wilds of Dorset last night. The Horns Inn near Wimborne has a band on once a a month. Again pretty full when we got there with folks dining but they soon left ( before we started playing) and were replaced by a few music fans. The Pub clear;y lost money on the gig but the Landlord told us he can "carry" the losses once per month. They have a stage in the garden and we hope to play that in the summer.

One word, Ashdown.

Its one of those songs that I hate, seems to go down well but hey. Maybe its just me.

I did eventually buy the CQ20. The WiFi is so much better than any of the mixers I have used, although the M18 is missing from those I have tried. What has impressed me is the noise....there is none that I can hear. It is also much smaller than I imagined and a better form factor than the Soundcraft or Behringer/Midas competitors. I also love the chorus for bass guitar, in fact all the effects seem pretty good. I also love the Double Tracker and plan to use it on tomorrow's gig. I have not needed the groups/DCA yet.

Very capable mixer.

Well never say never. Why not keep the head and look for a single cab? the 15" cabs will not be to current norms and certainly sound different to a modern PA speaker. A single FRFR cab would suit you well, but make sure it is a good FRFR cab. Some of the "boutique" cabs are not FRFR. Alternatively look at a really good PA cabinet but by really good, I mean quite expensive. I can only recommend what I have used. As that is not an extensive list I won't really say what you should go for but if you change bands, you may regret closing off the traditional back-line route.

I think that is a good mixer and I would not worry about the plastic case. I have had a number of Zoom products. And the plastic cases were not an issue.I wanted more inputs and a stagebox type mixer.