Paddy Morris

Do you ever have trouble with the Line 6 dropping out in a crowded gig with lots of people's phones on that 2.4GHz band? I read on another theead that people have been finding 5.8GHz more reliable. Thanks for posting those spectrum plots. The G10 must have a pretty chunky input impedance. Some people have been recommending the NuX wireless systems. Has anyone tried one of these on a DB?

Careful what you wish for! There are 'nuances' of my playing that I'm entirely happy for others not to hear too clearly.

For me, the BF FRFR cabs are like running a 12" cab but with an attached sub. Despite the paper specification being the same, the Barefaced have a more pronounced bottom octave compared with LFsys. So depending on what instrument you're playing, and what kind of music you're playing, and what venue you're playing, that might be a plus or a minus. For an outdoor gig a Monaco with a BB (presumably also a Big Twin?) gives you a nice focused sound, but with a big of LF thump you can feel in your chest. But in problematic small pub, or on a bare wooden floor, or a stage with difficult acoustics, that bottom octave from the Barefaced can be a bit of a liability. Whereas the Monaco low end doesn't sound subjectively as extended, but it really stays tight and punchy and well damped. They are both lovely cabs, but different in style. BF slightly louder. LFsys tighter and more controlled.

A second Monaco is very much still in the mix. I saw the Big Twin and had a rush of blood to the head. And this is why my front room looks like a bass equipment hire co. warehouse. With regard to the 'how much power is too much' question. For backline, with the luxury of an FoH soundman, yes either a single Monaco or BB is enough. But for gigs where we're lashing together our own PA coverage, I find it much better all round for most of the bass to come from the backline. It's impossible to judge what is coming out of the front, and empty rooms at sound check rarely stay the same when they are full of sound-absorbing humans. And for our set, powerful speakers driven modestly sound better than a single cab being cained to death.

Quick one for you experts. I'm tempted by a Barefaced Big Twin 2 Gen 3 that has come up, reasonably nearby to me. I already have a BB3, and the Big Twin would take up a lot of space in my car alongside an upright bass. Possibly I couldn't get both in. But in the heat of battle the BB3 alone feels like it's at it's limits. I have already blown a crossover once. In my position would you resist the Big Twin and look out for another BB3 to stack? Am I going to get the same meat from 2 BB3s as I would from a Big Twin, do you reckon? It's just easier to transport 2 smaller cabs, and I can leave one at home for smaller gigs. Cheers Patrick

I think you're probably right, but I think it would have been a more tricky excercise with the BB3. For all that that are nominally flat, they do in practice seem to have a lovely hump in the bottom octave.

I don't know if this is still a live thread, but my LFSys Monaco completely saved my bacon on Sunday night. My usual set-up now is a Barefaced BB3 with a Monaco on top. This particular venue was a bass standing-wave disaster. I was feeding back all over the place. I couldn't hear a note. I turned myself up, and the bar next door complained that glasses were rattling off the shelves. Really, really awful. We stopped the gig. I went down to just the Monaco, sited on the other side of the stage. I graphic EQ'd tons of 100 - 150Hz out, to correct for the room, and flipped the phase of my preamp. Also took every last trace of the bass out of the wedges and FoH PA. So the entire gig I was just using a very thinned-out, heavily driven, single Monaco cab. It worked. I was loud enough for me and everyone else to be able to hear what I was playing. In the crowd phone recordings I have heard I was plenty loud enough, and the tone whilst not perfect (when is it ever?) was perfectly fine. All this from one single, modestly-sized cab. I would now go so far as to say that everyone should own at least one Monaco. To get the sound you want, you will probably dial EQ in. It's not a sumptuous sound in and of itself. But the whole point of a FRFR speaker is that you can dial in a sound. And in this case the ability to dial-out the sound of a terrible room really saved my gig.

Blimey. 48 hours coiled up in a bow of oil?! Seems kinda extreme to me. But then I just had to replace a string today, because of an outdoor gig on a rainy day. Maybeq I could have saved it if I had whacked it in a bowl of oil immediately after playing.

Hi there. Anyone out there who plays on natural gut strings, I'm wondering what oil people use to keep their strings in good fettle. I've always just wiped mine down with olive oil from the kitchen every so often. Is there a 'special' oil I should have been using all this time?

Does anyone have a good hack for the standard Shadow not-quite 2.5mm jack, as used on the RB Pro preamp and pickup rig? They seem to be slightly shorter and smaller diameter than the standard 2.5mm, which means you can't plug the transducer into anything else, without taking the original plug off and re-soldering with something else. The input sockets on the preamp unit will accept standard 2.5mm plugs, like those supplied on the Zak Victor pickups, but the larger jacks are probably putting the sockets in the preamp under mechanical strain, because they are designed for the non-standard narrower / shorter Shadow plug. Is there another, sub-2.5mmm 2-pole plug standard that I don't know about?

Did a test this evening. A local sparky lives adjacent to where the stage is going to be set up. He's provided us with a feed with minimal volts drop <5% when tested with a 6kVA load on the end (2 kettles!) Just need to keep everything dry if it rains on the night.

I don't know if this topic is still live, but I'm hoping to pick up some advice. We're playing a mini festival locally, and because it's for charity and small scale I have agreed to run the sound system for the gig using our gear. I regret it now, but it's too late to withdraw really. Amongst the other headaches involved, we will be sourcing mains feed from some distance away, so I'll have to manage the loading and volts drop quite carefully. On a previous gig a few years back we were in a similar situation in the pouring rain. I managed to keep all the gear dry under gazebos and tarps, but the actual ground was very wet. I noticed that you would get a small tingle off the mic pop shields when touched. Nothing like a mains voltage bolt, but enough to seriously put you off your game if your lips touched the mic. I assumed that this might have been due to signal earth and safety earth and actual ground potential being at a few volts apart. There was no time to test it, we just had to play on through and be careful. We had an RCD connected, which never tripped. Has anyone else come across this, and did they identify a fix. For instance I was wondering if tying either safety earth or tech earth to a local earthing spike near the stage might made a difference? Ideally it will stay dry for the gig, but I wanted to plan for the eventuality that it's wet, because there a 5 other bands involved.

WTAF is going on with Prastro Olivs? I had an idle look on Bass Bags, who are usually pretty reasonable value for strings, I've always found. A full set of Olivs are now £900!! I mean, are they made of unicorn gut or something? It does make you wonder who exactly they are marketed at, who is their target player? If you compare that with say Evah Slaps which are still less than £250 for a set on the G4M site. Olivs are maybe a bit nicer under the fingers. sound richer (to me, based on only having an Oliv A string!) and take a bow much better, but are completely not worth nearly 4 times the price. I have a friend who is a pro orchestral player as is his wife, and I know for a fact that neither of them will be paying the equivalent of a mortgage payment for any strings at any point ever. So I wonder who Pirastro are expecting will buy a set at that price?

I've had a couple of J-tones. They are extremely good for the money, but there are also many better pickups out there. I did tend to have more feedback issues with the J-tones, but there were other factors involved too. The input impedance of the Trace might be wrong for the pickup. You could try a buffer/HPF like the Raffery or Fdeck, I bet that would make a big difference. As long as you can hear what you're playing on stage using the combo, then why not run through the PA?

If it were me I would use the Beta 58, and be prepared to roll an absolute ton of LF off on the mixer channel.

Amazing job you're doing.

Really excited by this. Can't wait to see what a production version might look like.

I just recently bought a Monaco cab from LFsys. I've done a few gigs with it now, and as there doesn't seem to be much info out there on their use for double bass, I thought I would leave a small review. Practicals first: It's really nice and light. Very easy to carry with the recessed handle. It fits in my car standing upright, so plenty of space for other gear. The finish and appearance look very smart, in fact I don't really think the website pictures do it justice. Construction quality feels really nice and premium. For these purposes I'm going to compare to my Barefaced BB3, as they are similar scale FRFR speakers - different price points, but broadly comparable. I've finally realised that I can only really use flat speakers for upright bass at any reasonable volume, because any specifically 'voiced' cab, with humps and bumps in the response, tends to make the feedback issues with the instrument much worse - unusable in fact. Efficiency: The Monaco is plenty loud enough. I would say the BB3 is a few dB louder for a given amp setting, but both are freakishly loud compared with a lot of traditional cabs. It's subjectively the same volume as my BB Supermini T. Response: It's flat - extremely flat. I think I would actually be pretty happy to use a pair of them as studio monitors. Out of box, the BB3 feels as though it has a deeper bass extension (in my case I have to roll all that rumble off with an HPF anyway) but I did check with a bit of tone shaping on the amp, and the Monaco is still very capable of generating those very low notes if you dial them in. I wonder if it's the difference between the big-ass slot port on the BB3 and the reflex port on the Monaco? I guess if you were after a particular 'sound' then you would use a cab-sim, or a head that provided it. But the Monaco is very much a blank canvas. Load: This is an interesting one. If I push my amp really hard at LF, much harder than I would hope to need to on a gig, the Barefaced cabs will eventually cause the class D stage pop into protection/mute for a few seconds. This isn't a criticism of the Barefaced, because I'm taking about abusively high loudness levels at this point. But this doesn't happen with the Monaco. And if I run the Monaco in parallel with the BB3 then the combined load doesn't cause the class D to trip either. I'm not sure what's happening here, but certainly it points to the Monaco being a good, consistent load impedance and easy to drive. Actual use on gigs: It's a very clear sound, very easy to hear what you're playing and get your intonation right. The notes bloom into the room (or field if it's an outdoor gig!). So the dancers get a tasty set of low notes to set their pulses racing, but the player gets something that's nice and focused so you can hear what you're up to. The low end is present, but really tight and punchy. And here's the big deal for me, very little feedback. Loads of BassChatters will know if you're playing upright with a loud guitarist and drums then managing feedback is a full time preoccupation during a gig. I don't have a 2nd sound posts fitted. I don't use a mag pickup because I'm playing guts. We don't generally use IEMs. So all I have to damp things down is a pair of F-its sound hole blockers and the fact that I'm playing a laminate instrument with a lacquered finish. And using this Monaco cab, I can get to a perfectly acceptable volume without causing horrendous feedback issues. I have got a quieter dinner jazz gig coming up in a few weeks, for which I'll use a carved bass. So maybe after that I'll report back here. You always take a bit of a punt when you buy a cab online, without trying it out via a dealer beforehand. But generally speaking I'm really pleased with it so far, and thanks to everyone on here who recommended LFsys to me. If anyone is near York and fancies trying it out for themselves then message me on here and we can sort something out.

It's a very interesting head for sure. Tons of EQ. I couldn't find anywhere on the Mesa site that stated what the input impedance was. So you might need a preamp to get the best out of your realist. That output damping switch is very interesting. If you do get one the please report back as to how it works out. Mesa stuff always looks gorgeous.

Blimey! Just, blimey!

I just bought an LFSys Monaco cab. Really light and easy to manage. Nice, extended low end, but not flabby at all. Good flat response, so that what you dial in from your amp is more or less exactly what you hear. And plenty of volume. Pretty reasonable money too, for a custom-built cab.

Thanks. Just to say once again that the slap is not overloading my preamp. Everything is nice and clean until the output stage. But I take the point about my technique, which I'm always trying to improve on. I've been playing for 42 years, but it's still a journey. I guess in that time I should maybe have tried a valve output stage amp, eh?

Thanks Bill. I think I said somewhere earlier, a fast attack peak limiter does fix the problem. But it does also really hobble the sound I get. I've been through a fair few dynamics control devices and the soft knee / fast attack setting on a Keeley compressor pro is the best compromise I have found so far. But I still prefer the sound with it switched out entirely. So I was wondering if a valve output stage would handle those transients more gracefully. I guess the best way is to try it and see. I'm sure I know someone who will lend me an Ampeg or HiWatt head for a few hours.

Thanks. In fact I have had issues with clipping and overloading further upstream in the past, but I've managed to iron them all out. This is definitely a problem in the final power stage. If I take a feed of the DI output from the amps then the problem isn't present. Also if I put a fast attack limiter across the amp input the problem goes away, but then also so does all the attack on my transients. And I miss them.

Hiya. Yes, I'm HPF'd to within an inch of my life. Apart from any other reason I can't really hear my intonation on a loud gig unless I have rolled off all that LF junk. I suspect I need to just take my rig (and my poor credit card) to some dealer who keeps a good stock of all-valve amp heads.