Chienmortbb

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untrue however as my College learning was now 50+ years ago............although as far as I know Ohms law has not been repealed.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!

Behringer get a bad press as a copier, but many of their spruces are designed in house and do not copy anyone. The power amplifier section of many of their older speakers were based on the same NXP chips as the earlier Mackie Thumps. Most of the low to mid-speakers use the Analog Devices DSP chips that are of a higher quality than the rest of the speakers/circuitry but are really there to make up for the deficiencies in the low-cost drivers. Although I am not a fan of the Behringer Stage Box Digital Mixers, for a few reasons, but they have almost created the market and Soundcraft, RCF and Allen and Heath probably benefit from that.

I do agree, although it is the values of the components that matter. There is no magic in Orange Drop capacitors or any particular make of pots. The law or taper does matter, though.

My lot laugh at how many cables I bring. They were not laughing last week when the lead guitarist's only cable and a month ago, when the Rhythm Guitarist's mic cable was safely in his garage when we were 40 miles away at a gig.

That is the daddy!

Wise people1

I have just retired my passive PA tops and set an 11Kg limit per item. My bass cab is 11Kg and I am looking for tops under 11Kg tops.

Good work.

They should not come together, and mains sockets on different phases should not be closer than can be touched simultaneously by a single person.

My point was that the actual wiring has little effect as a sound upgrade. The workmanship on @KiOgon's looms is superb and in many cases a worthwhile upgrade, but there would be little difference in the sound to a bass without a loom but with an identical circuit. In fact, you need to be careful when laying out a loom that the innate tidiness does not cause unintended problems. @KiOgon is experienced enough to know this and if you want an easy, trouble free installation, one of his looms is a no-brainer. The other advanatge of @KiOgans looms is that it looks nice inside your bass, but only you can decide how much that is worth to you.