Stub Mandrel

Sorry my wording was ambiguous... it's the BAND that keeps the ticket and door receipts andcsets the prices.

In the late 80s/90s I gigged with a 150W Laney Probass, a 2x12 guitar cab, a home made 2x12 with two Mackenzie 'full range' pa drivers and a home made 'bright box' with two big piezo tweeters in it. The bottom 2x12 was vertical with the upper one horizontal, then amp with tweeters on top. Skillfully designed to maximise comb filtering. In other words, the stack of @Bill Fitzmaurice's nightmares...

I know venues that will let bands gig for free and they keep door/ticket receipts. This places the onus for promotion on the band... We are thinking of doing one, setting up early and using the stage and lighting to get some more 'professional' photos and video. We would keep ticket prices low in the hope of getting a decent attendance but would probably need a support or dj as well. Obviously this doesn't suit pub type gigs...

Which reminds me... the sensitivity of an SVT 8x10 is 3dB less than a GRBass 2x12. It's real... I've tried them side by side.

LMFTFY 😉

Undeniable! 😂

It's Walk Band... but it doesn't seem to permit an external keyboard.

Not Olives?

Thanks Phil, that was what my back of the envelope suggested. I did wonder if there were some 'kludges' applied to approximate a non-linear effect.

My brother has a synth app on his iphone which he uses as part of his work with people with autism. He does a lot of music-related activities. It sounds quite impressive. I will ask what it is called.

Worth watching to find out what Danny Sapko is like without all the corny exaggerated accent and other nonsense. Hope he doesn't get sued.

I've used my elf with a pjb C2 and it's fine for that sort of situation. I even used it at a blues gig, on a tall stool, because of a ¼ mile walk to the venue... it is judt loud enough for that. I imagine the Double 4 is directly comparable. (It’s a C2 not a C4)

Paranoid has sme nice subtleties if you listen carefully.

Thing is, the songs I would choose aren't very pub friendly. Sonic Attack

I always fancied being in a Hawkwind tribute.

This paid vs. free venue vs. bands stuff misses the point. It's AUDIENCES wanting to experience live music in good numbers and willing to PAY through either tickets, a tip bucket, club memberships or over the bar in return. If more people went to see grassroots music and were willing to accept the cost, then there wouldn't be an issue. The venues that succeed are those that are customer focused and have good promotions.

No, I knew I wanted one 2x12 cab and since getting it have passed on one of my old 8R 2x12s and taken the other apart. I have no desire to go back to using two of them, the only motivation would be to have something more 'stack like' for certain genres, in which case a dummy cab would work just as well. The only benefit of an 8R cab would be making it slightly easier for me to control stage volume. Now I am considering a 1x10, in which case I probably will go 8R as I could see potential to double it up for a small but portable setup.

I dont know if he could sustain that speed now but he's still a fast and articulate player when he unwinds.

When you are certain you don't want to run two cabs... so when it's a big(ger) cab.

Posh!

Just went to see the Little Giants, a sort of 'juke box band'. Lots of guests in the second half and I did a stint on bass, from memory Dakota, Superstition, Gene Genie and Mess of Blues plus one or two others? Shirani guested on sax and asks me "what suits sax?" Optimistically I say 21st Century Schizoid Man and they launch into 20th Century Boy... 🤣

A 15" Ampeg Portaflex pulls a lot more bass out of an Elf than the 2x8. I know because I tried both in PMT before I bought the Elf, and found it weak sounding through the 2x8. Oddly, a year later my brother picked up Portaflex 15 for £50(!) and ended up getting an Elf to go with it. (Yes I know all the arguments against 15s but this particular combination sounds great for the sort of music I play).

On the vast majority of solid state amps the headphone disconnects the speaker output and powers the 'phones via a series resistor. This means your fault is probably, as you seem to realise, a break somewhere in the output wiring, not in the electronics. You have a suitable instrument to trace the fault. Put the meter on an a/c range, perhaps 20vac or more. With one probe at a good ground point, carefully probe from the headphone socket to the speaker leads.

I know I wish I did...

I can see for an 8R system the series rheostat should be 0-8R, presumably linear. The parallel rheostat would, ideally be 0-infinity and 8R at the point where the series one is at its mid-point. That would give three 8R points at max and min. But most rheostats are wirewound and linear, so I wonder what compromise is used.