Downunderwonder

Similar result but with more curves left in and coming from trad P shape whereas the Fender is coming from re-inverting the t'bird which came from squaring off the P and making it more pointy. P pickup for P sounds?

The middle photo is very like the evo4. Then comes the 'knockoff avoider'?

I think the expression is 'argument against', unless you're click baiting in which case I offer you the raspberry.

Prunes & Custard for something a bit different that combines well with other stuff to be something else again.

An answer to the question of how those fancy systems wind up sounding if you don't trip their limiter when putting whatever through them sound would be nice. How about the full skinny please? A: e-drums, restrained backline not enough to be interfering in vocal mics, not covering whole venue but not giving a damn, Auntie can natter away to drums and vox and some bleed just fine, dancefloor @ something under 96dB thereabouts avoiding engaging the limiter. B: full e-band backline IEM. C: 1 mousepower backline monitors, e-drums and everything into the mixer. D: live drums, IEM everyone.

Seems nobody sells Ric's. Just one listed in the last week.

See if you can get your head around floating thumb on your 4 first. That makes it much easier to switch onto 5 ime.

And your venue name is still there in the second page.

I meant push the mixed output of everyone so hard it hits (runs into) the limiter all the time.

You haven't finished redacting the venue.

If you don't run it into the limiter does it sound ok, just too quiet?

Reminds me of an old Aussie rock band, Cold Chisel.

A t'bird that doesn't neck dive (as much?).

Compared with in a bad spot it could be night and day different in a corner.

Mesa D180, Bass200. Dunno about the 400 series.

Offer to meet them halfway. Tell them you are used to playing social gatherings where people need to talk. You will put some of your lights on their circuit and if it goes dark you will turn it all down some more but you don't expect that will be necessary as you are professionals. You know what 96dB sounds like but you don't want to risk your amps having their power cut.

Actually I find EUB ( with side dots ) slightly magnetic. At least they are usually competent guitarists and it can be sort of fun to give it to them for half a tune. Usually it will cut them down a peg or three as they realise it isn't just a big guitar that you flail around on to make big booms.

A bit of a search throws up a lot of ''export version b25 transformer 240v'', so probably not.

If I was a collector I would still want to play it once in awhile and having the local market transformer would make it more valuable. I would think of it as converted to the export model same as the rest in Europe that weren't private imports, fully reversible for anyone that only wants to look at an amp and admire it.

The aircraft noise levels come from 1992, which still had the old turbojets running around. Another entry at 96dB is lawnmower. I still think 96dB is pretty darn loud in polite company! Awhile ago I played a 50th birthday with 210 cab pretty well turned up. The drums were not mic'd and he was very sensitive player. High energy guitarist vocalist had a 212 cab with one of those Tiny Terror Orange things all of 12W. Vocal PA. That was loud enough to get the dancefloor going and knocking hard on 96dB at the stage I would say. At far end of the room they could still talk, so there were two parties going on with nobody in the middle. All in all I wouldn't expect that to be too loud for a wedding venue. Again, it depends on where the meter is set up and how rowdy the crowd gets.

The new ones are about 1/2 as loud as the ten year old ones which are about half as loud as the original ones. I would question how old that reference is. It sounds like they might be referring to the originals as 96dB is pretty damn loud, which they were!

If you play fretless it's a rare munter that will approach you for a loan. Bump it up to 5er and the potential drops to near zero.

It is if it's where you are. Everything depends where the mic is. If it is stage side it's not nearly as much headroom to play with than if it's at the other end of the room, but then the rowdies could get too close to it and upset everything so you actually have less headroom than you think even though you are way louder. ( Using headroom in the not strictly correct sense of dynamic range )

Looks like E A D and G. I'll get my hat.

Not really. A regular passive A/B is a regular passive ABY box with different writing on it.