Chienmortbb

welome back jay

The dead spot of of a super or hyper cardioid is approx 120 degrees. The cardio pick up pattern is also three dimensional (think of an apple). The rear of the microphone does have a fair amount of pick up as there is a small but noticeable lobe at 180°. This is why you should not put a monitor speaker directly in line with a super or hyper cardiod microphone. Popular super or hyper cardiod include, Shure Beta 58A, Sontronics Solo ( I use these) and Sennheiser E865 and E945.

There is live music in Dorchester

TWEETER: piezo. Look through these pages and those on TB and you will find threads about removing/replacing Markbass piezo tweeters. The problem is not the piezo tweeters per se, rather the crossover or lack of it. Despite what Motorola said about piezos not needing a crossover, they do.

Unbalanced from a Balanced feed usually drops the signal 6db.

I had the first gig with my Monza last night. I have been using LFSys cabs since they started, going through the Silverstone then Monaco and now the Monza. There is nothing wrong with the other two cabs, but my old arms need a lighter cab these days. The 11kg is fine, and it fits well in the boot (car, not the better half). I will do a review another time, but suffice to say I was not disappointed.

Some idiot dug a gouge about 150 x 10mm long into a Hohner Jack bass that goes way below the finish and well into the wood. Any advice on the best filler and best way to refinish it? I would prefer not to have to strip the finish off completely.

Yes, one of the reasons amplifier power is usually measure using a resistive* load and that speaker power ratings are a guide only. *There is no such thing as a purely resistive load as every component has resistance, inductance and capacitance to varying degrees.

The absolute worst placement for subs is either side of the stage under the tops. You should be OK at the rear of the stage.

Firstly I must apologise to the OP for overcomplicating the original question, but such is forum life. It is demonstrably right. Volts X Amps = Power in Watts, or P=V x I. That is for DC. In AC, it is the same, but in the early days, it was hard to measure the Voltage and Current (Amps) at exactly the same point in time using simple analog(ue) meters. Once impedance comes into play, current and voltage are not in phase and therefore is it incorrect to use Ohms law when measure voltage and current (amps) with separate meters and declare them as watts. So it was commonplace to measure each and multiply them as VA or simply Volts X Amps. Modern test equipment allows us to measure the precise voltage and current simultaneously. I have just deleted a large amount of text as I had almost ridden my hobby horse off into the sunset. Happy to answer, argue, correct anything that is demonstrably untrue however as my College learning was now 50+ years ago............although as far as I know Ohms law has not been repealed.

The drummer in my band has a Gear4Music drum mic set, and I suspect that the mics are of similar quality to those you bought. The drum sound on your recording sound good on my over ear headphones.

A silly title, but it has got you reading. My real question is how do you mic up drums for both FoH and recording? I know some "pubnclub" bands just mic up the bass/kick drum, while the mic manufacturers want you to buy more mics than the BBC. The famous Glynn Johns method uses three mics for the whole kit, and he has produced everyone up until the 1980s when music died (joke). So whatdo you do?

Those 4x12/4c10 columns were built for two reasons. In the UK, there were three main guitar speakers makers, Goodmans, Fane and Celestion. These speakers were usually 25-30 watts so to match the amps of the day, 4 were used in each column. Most amps were 30/40 or 100 watts. WEM, made 49 and 100 watts solid state amps. Using two 8 ohm columns meant that the drivers did not get to the point of come breakup, so beloved of guitarists. Were they as good as a good modern PA speaker? No but they were probably as good as the cheaper plastic speakers available today.

Until you put them through a Markbass Cab. Any colour you like, except flat.

Gypsies, Tramps and Thieves?

Apparently nicked from a van parked in Notting Hill in 1972. It was outside a squat and one of the squatters took it, but when he realised how "hot" it was given it to the pub landlord for safe keeping.

On that basis an HB P Bass kit for me as my mechanical and electrical skills far outweigh my musical talent.

Not sure about the headstock, but that body a Matsumoku or a homemade clone of an Aria or Westone, late 70s or early 80s. On second look, the stripes and hardware is also not consistent with Matsumoku.

They are now made by D'Addarrio. Sadly the flats are just as bad as ever IMHO.

The A&H CQ series look really good if not a little more expensive than others. I am going for the Stagebox version, the CQ20. However, it does seem that the CQ18, the touch screen version is very popular for those transitioning from a mixer with traditional controls, it's currently sold out until April.

MDF, can suck in black holes at a million miles as it’s so dense.

There is no right answer to this. One of my bands useds a Behringer Powered Mixer stayed at 500 Watts. However that is across two channels and also Peak watts. I suspect it is about 100 into 8 ohms, 150-200 into 4 ohms per channel. One channel is used mono for FOH and the other for monitors. The front of house speakers are Ramsa WS-A200s and they have a sensitivity of 98dB . We have played pubs clubs and small theatres and never been short of volume but then we currently only put vocals the PA Remember the watts do not tell you how loud a system is. The sensitivity of the speakers determine that.

A bold statement.

HiFi or FRFR means faithful reproduction of the sound you put in. Most "old school" amp/cab system have, as @Phil Starr said, have little top end and often a boost at around 120Hz. That used to be the sound of bass. With more and more modelling systems/multi-effects units, more and more people are either going into a HiFi/FRFR system or directly into the front of house PA system. HiFi is usually reckoned to be 20Hz to 20KHz, but in BASS systems I would argue that 40Hz to 15KHz is more than adequate for bass (in fact probably 15KHz is probably higher than you need). Most modern amplifiers are close to HiFi, we measured several at the SW Bass Bash two years ago and these included class D offerings from Bugera, Ashdown and others (I will try to dig out the results). Be aware however that the "Gig Bag" amps, like the Elf and the Gnome, tend to be coloured when set with all EQ at 12 o'clock. The Elf has a baked in Smiley Face EQ and the Gnome has a rising response. The Aguila TH series are also probably not flat as shipped. Many people use PA cabs for this too. RCF and QSC get a lot of love for this, and it is a fairly lightweight option, but not a cheap one. A decent cabinet will cost at least as much as a good amp/cab combination, and probably much more.

Whoever accepted the gig on behalf of the band was done up like a kipper!