Bill Fitzmaurice

+1. Doubling the power isn't worth carrying the second amp around. At the very least you want to double the voltage swing capability, which translates to four times the power.

I wouldn't blame it on the monitor. Think about what happens when your drummer leaves his sticks on top of a floor tom and you play a bit. The sticks rattle, especially at a certain note, because the head is vibrating, and not because the cab is sitting on the head. It's because the tom head is resonating in concert with the acoustic output of the cab. When a stage or riser or anything else in the vicinity resonates when you play it's for the exact same reason. The only fixes are to either strengthen the resonating surface making it too stiff to vibrate, damping the vibrations by fully covering the surface with a heavy carpet, or dialing out the resonant frequency causing the vibration with EQ.

Probably because they're not distributed in Canada or the US.

Once over the border the tracking should be handed over to Canada Post, but that does you no good if you don't have the Canada Post tracking number. I assume it's not the same as the USPS number.

There's no such thing as mechanical coupling that causes the riser to resonate. There have been a few studies that prove this is the case, this is one: http://ethanwiner.com/speaker_isolation.htm What will cause the riser to resonate is the acoustical output of the speaker. That will usually occur at a single frequency. The best way to prevent it is with a parametric EQ that allows you to cut the speaker output over a narrow range, sweeping through the frequencies until you find where it kills the resonance. Another option is to raise the speaker to 1/4 wavelength above the riser, which will cut that frequency, but finding how high to lift it is a trial and error process.

At half power you only have 3dB of headroom, whereas what you need for very clean is 10dB. That means running at 1/10 power. That makes it seem like you need a lot of power, but the reality is that on average it's rare to be putting out more than 20 watts. If that were not the case generations of players would not have been able to gig with an Ampeg B15. Where 1,000 watt amps are concerned that tends to be a specmanship situation. Very few can actually maintain that for more than a few milliseconds. If you look at amps with honest specs, PA amps from the likes of Crown, QSC and the like, take note of their power draw. It's typically measured at 1/8 to 1/12 power. That reflects their actual long term output at very low distortion. Note that where the 30 watt Ampeg is concerned the reason it was gig worthy is the natural compression of valves. Without compression it takes a lot more power to stay clean. By the same token using a compressor with SS allows a lot less power.

Clean is far more a matter of the speaker than the amp. Where amps are concerned 1% distortion is high. Where speakers are concerned 10% distortion is within the normal range. The cleanest amp in the world will still sound dirty with speakers that are dirty.

If you think that's bad get a load of this, and I do mean load: https://musysic.com/products/musysic-professional-4-channels-2x9600-watts-d-class-1u-power-amplifier-mu-d9600 😄

I wouldn't call my drummer of the last 35 years gentle. But he doesn't let his ego get in the way of his musicianship. None of the better drummers I've ever worked with, whether I was on stage or in the FOH, were pounders. That's a very long list, and where FOH is concerned includes some very familiar names, including Ringo.

Absolutely it's drums and guitars that threaten one's hearing. If you, or for that matter they, need protection they're playing too loud. I remember doing that. Back in the days when we didn't know the difference between good and loud we played good and loud! In our defense that was when PA support didn't exist. There's no excuse for it today. The backline carries the stage, the PA carries the room.

😄 I was in Baghdad while you were still in your dad's bag. I played in my first band in 1965. Some of the guys in my circle of musician friends back then were Steven Tallarico, Joe Perry and Tom Hamilton. Maybe you've heard of them? They wanted me to join them in 1970, but I was in college and didn't want to go full time as a touring musician at that point. After I got my degree I did.

If the bass on stage is so loud that you need ear protection it's too loud, period. Low frequencies don't cause harm the way high frequencies do. Taking that into account industrial noise ordinances use the A-weighted scale, which doesn't register low frequencies. There's also the matter of the bass usually being louder out front, where you don't have boundary reflection sourced cancellations that are usually present on club size stages.

It used to be that NL2 and NL4 weren't interchangeable, but Neutrik has been for a while. On that I'd only buy Neutrik. Knock-offs have been known to cause problems.

This raises the point of what pre (gain) and post (master) do. The gain knob sets the drive level. The higher it's set the greater the ability to get over-driven tones. The master sets the power amp level. The higher it's set the louder the amp goes. To get over-driven tone without excessive volume the gain is set high, the master set low. For the cleanest tones the gain is set low, the master set high. No law says you can't run the gain at full, or the master at full. You may do either, you may do neither, you may do both. Horses for courses. From a historical context the volume knob on vintage amps equated the gain knob on modern amps. The higher you set that the greater the ability to over-drive, but it was always accompanied with going louder. The master was added to allow one to crank the gain without cranking the volume. Setting the master at full takes it out of the circuit, giving the same topology as a vintage amp.

It was the stage lighting that made everyone's hair appear lighter, except Jerry.

So near, yet so far. They had separate arrays for every instrument, as well as the vocals. Today we accomplish the same result with just PA arrays. They didn't have floor monitors either, the PA arrays in back of them were their monitors. In order to prevent feedback they placed two mics close together, with one wired reverse polarity. The sound from the PA reaching both of them was cancelled out, so no feedback. Their vocals weren't cancelled, as they sang into only one mic of the pair. They had two of these systems, which leapfrogged each other from gig to gig. That got old fast, they abandoned it after only seven months of use.

That's not flat, it's full cut. Nor would you want the EQ flat, anymore than you'd want flat beer.

Eminence has a factory in China, so they may have been real Eminence. US made Eminence use components sourced from Asia, so Asian and American Eminence are built from the same parts.

And that's not the worst of it. Totally inadequate, unless you use eight of them. 😒

Your sound is 1/3 amp, 1/3 speaker, 1/3 room. Guitar players are relatively unaffected by room acoustics and the finer points of speaker placement, but knowing how room acoustics and speaker placement affect the result is critical for bass players.

Thermal power ratings are worthless, as are driver sizes. The only way to know how cabs compare on paper is with SPL charts and driver excursion specs, which are written with invisible ink, stored away in the deep recesses of Churchill's bunker, guarded by Agents of Shield. 🤥 Since the K212 is local go try it, along side the 210. Then you'll know for sure.

The ring circuit notwithstanding it's as I surmised, the available current at the outlet may be much higher than the lead being plugged into it can handle, so the lead is fused. The US isn't all that different. Most circuits have a 20 amp capacity, while the lead going to, say, a lamp is only 15 amp rated. But that much differential isn't enough to justify separate fusing of the lead. In theory very low current devices could use a smaller gauge lead, say 5 amp or less capable, but we don't see that. Even with a table lamp the smallest gauge lead tends to be 1mm.

The only logical explanation for why else is to provide a secondary level of protection. Assume that the mains outlet uses wire with a 20 amp capacity, connected to a 20 amp breaker at the service entrance. Now assume the wire from the outlet to the device is only 10 amp capable, but it's connected to a 20 amp device. That wire could overheat and short out or cause a fire long before the 20 amp breaker tripped. Happens all the time. Separately fusing the lead at its capacity removes that hazard.

GB doesn't?

Not many listings in the UK probably because not many made their way to the UK. You'll find some at www.reverb.com and www.ebay.com. For instance: https://www.ebay.com/itm/144982421038?chn=ps&_trkparms=ispr%3D1&amdata=enc%3A1QHX3XjvPTzWl_jZ2F_t1NQ61&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&mkscid=101&itemid=144982421038&targetid=1587262742097&device=c&mktype=pla&googleloc=9002322&poi=&campaignid=19894961968&mkgroupid=148855406073&rlsatarget=pla-1587262742097&abcId=9307911&merchantid=6296724&gclid=Cj0KCQjw98ujBhCgARIsAD7QeAiIFak5XPfAirUR05QyDvaH516mB5KUXgw-xxMFK3G1NPuTIbKoD08aAjkIEALw_wcB