Downunderwonder

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Get some really good earplugs.

Get another 212 same as the other one. Stack them tall.

Assumes the first cab is 8 ohm. You seem to think it is but worth checking. If it is 4 ohm you are SOL.

In case of 4 ohms you could add a powered sub and line out of your fx loop to it and have it return the highpass back to your fx return.

Always hook up the speaker before powering up the amp.

Always power down before unhooking the cab.

Having this as your routine is to prevent an occurence of amp on with no speaker attached = death to amp.

I put verge of breakup because it's only a matter of digging in and and I get some choice wild hair on. But it's clean if I don't dig in. Such is the joy of preamps that can do that thing with ease these days.

Maybe I should have put clean as a clean thing? 

41 minutes ago, BigRedX said:

Pre-EQ, but get the PA engineer up on stage to hear what your bass sounds like to you through your amp and cab(s) so they know what sort of sound to be aiming for FoH.

Good luck.

Having heard so much boom and clank rubbish out front from other bands I just send them my effected signal. At least they are starting from something decent. I still get the odd grumbles it's bloated in the lows. It's the hall and the PA.

My cab is full range and the lows are turned down already. Tune your fine PA to the room!

Be sure the desk has phantom power off. Trace never isolated their DI afaik. 18v up it and no more DI. Then they tell you your DI doesn't work!

A few years ago my bro sent me.a YouTube from some dude who must be doing ok selling shows. Never heard of him and can't remember his name.

Dude doing country music with a jazz band backing him and making it work. Very listenable. Ace trumpet player etc doing jazz solos over cowboy blues.

On 03/04/2024 at 05:17, JoeEvans said:

It's also possible that the singer's mic is picking up the bass and sending it through the PA, then the body of the bass resonates with the PA output, that comes out of your amp and back into the singer's mic, and you have a feedback loop. You could ask the sound engineer to roll off the bass on the vocal mic - you could probably wipe off everything below 150hz without it doing much harm for a female vocalist.

Except it didn't stop with muting the strings. It could still be the singer's monitor and mic but it's vocal frequencies doing it because it stops when she stops. Must be a right Shirley.

HPF aka low cut her mic and see how it goes. Get away from the vocal monitor and any amount less of crankage will help.

.

On 06/04/2024 at 10:58, tobiewharton said:

Interesting thread...

Forums like BC are such a great source of many things, from bon homie to amusing belligerence, and I'm sure we're all partial to the full gamut from time to time. 

This particular one irks me -

These amps and cabs? Not on your nelly! I like Mesa stuff but these are priced out of the market for the majority of players. I earn good money from music and there isn't a world where I'd shell out for these products over, say, GK's offerings.

I couldn't give two hoots where things are made per se, as long as the product, buyer experience and aftercare are fit for purpose. On the contrary, if I feel like I'm being taken the piss out of it leaves a sour taste, regardless of some superiority delusion masquerading as 'provenance'.

Of course this is all my opinion, but it's not lost on me that I am in the relatively unusual position of having the funds and work to justify considering equipment that is towards the pricier end of retail. These are beyond that and yet are not a luxury; luxury is commissioning a build with a craftsman (like Jon Shuker for example, whose skill, time and flexibility add a unique and personal value), not preordering on Anderton's. 

I'm with you in that there's no way I am forking out for new Mesa gear. But I wouldn't go around calling it overpriced stuff I wouldn't buy and by the way I like some other brand better so Mesa can do one I wouldn't buy it anyway. That's not cricket, and completely unnecessary.

One Thousand Pounds, cough splutter, thankyous for the trade might suffice.

11 hours ago, stewblack said:

I just added up the 16 amps I have currently at my disposal and I wonder if I can honestly justify another. 

But I really want one of these, have done for a while and this is a very good price (even allowing for your commission)

 

Do it. 17 is the bakers' dozen of amps. Then you only have a dozen amps at your disposal.

21 hours ago, Pea Turgh said:

Still a 2x10 400w cab up for £99.  Bonkers.

I see why they made it 16 ohms. It's so someone can plug a 500w amp into it and not blow it up only turning the amp up "halfway" putting "250w" into it.

You're all over the place in your description of what you are trying to do. Really.

Start again with what gear you are currently using and what problem you have that needs a solution.

[ I very much doubt that what you have on your mind is going to be that solution. Maybe it can be, but not the way you seem to think it would go ]

Over to you.

If the desk has a spare Aux channel you can send anything you want to be sub boosted to that and the aux out goes to the sub.

It makes mixing a bit more complicated but should only be the kick and bass in most bands.

It would have to be a raucous church band in a very big church before the Rumble 100 couldn't blow everything up mixwise if you give it some.

Dunno what is going wrong between your current monitor and the soundguy. Sounds like he doesn't have the nouse to put it into a line input on his desk.

Have a play with the Rumble at home. I expect it can rumble your living room. You'll want to turn down the lows. Probably best to leave them turned down for what you send to FOH. Churches are naturally boomy spaces.

Phone vid to FB is unreliable but your wife should be able to hear you.

If the tone is acceptable from the amp the DI out should be absolutely fine for FOH to use.

Piezo pickups can give what I would call a fully emaciated tone when the preamp doesn't have the input impedance, as mentioned earlier. Not at all useful without another preamp in between.

The sound people that insist on a pre DI are the same ones that want to make it all boom and clank out front in my experience.

What is wrong with the Rumble taking an acoustic straight in?

Perhaps a wonky stage floor. Side by side could end up with a gap at the top or bottom which would look well wrong. 

You were selling that amp and cab so cheaply I thought your account had been hacked. Good move hanging onto some stuff to make bass noises.

18 hours ago, BigRedX said:

 

What you diagram fails to take into account is that the action of the strings on the whole length of the neck is far, far greater than that of the screws acting against two almost insignificant pivot points approximately 50mm apart. For ski-jump to be caused by the presence of a shim it would have to occur between the neck bolts, yet all the anecdotal evidence I have seen points to it happening elsewhere - somewhere between the centre point of the neck and the heel. So while ski-jump might possibly be a thing, it's not being caused by fitting a shim. 

The ski jumps I have seen are all within the pocket section.

In that region the strings have almost same leverage over the neck whether there is a shim or not. But lifting the neck off the pocket at the rear gives that leverage somewhere to go.

0o I dun a b00h b00h.

35 minutes ago, BigRedX said:

What part of the neck is being shown? Is it along the neck or across the neck?

 

What are the forces pushing up from below and what are the force pushing down from above? Because if they are the strings and the screws, the strings pull at an angle with respect to the neck and not vertically

 

What's the curved dotted line? And what are the two triangles above them? Pivot points? Because if so that's not how a shim would act.

 

This could probably be the most useless diagram ever drawn to show a physics problem solution.

It calls for some imagination. In engineering it's known as a "free body potato". It frees your mind to examine forces at play.

Here it's the neck section in the pocket.

Screws pull it down. The pivot points push back as described. The free body has forces in balance.

You are then free to examine the internal bending forces that are generated as a result of the external forces in balance.

On 23/03/2024 at 22:03, Chienmortbb said:

 We played in a Village Hall last Saturday and I had the same experience.

The standard village hall width is 2 x boom freq wavelength.

17 hours ago, BigRedX said:

 

I do physics. Can you please produce a diagram showing the various forces at work prove they cause ski-jump.

The forces induce bending moment in the neck. As soon as the holding down force of the screws is apparent it is resisted at the pocket end and the shim or the neck would be in motion. A beam force diagram for you: