Downunderwonder

A BF Big Baby meets your criteria and you can use it to make a real racket as well. You might get one used for not too much moolah, considering a BigTwin took several days to sell for £700.

Needs merging.

There may be more than one standard. Obviously you were WRONG to label your desk, with sticky labels that could be peeled off to boot, not considering that someone else might need to come along and mix your band. Or not, guitard mate 'n'all...

You meant HPF I think as you used the correct term later. My HPF was set at around 70hz on a recent gig. Sound monkey must have boosted the bejesus out of it to get his subs pumping some obnoxious sub bass. I wound up turning him off as the stage amp was plenty big enough for my little band in his little bar of a Sunday afternoon.

You must have been doing it all wrong for him to do that.

This is me at the moment! Our new guitarist is a fair to middling bassist and he is way better than me! There have probably been others in the band over the years that were too kind to say anything.

People are always telling me what a great bassist I am. They are wrong. I am the lint under a great bassist's toenail but I am here and they wouldn't be bothered with my gigs even if they were here too. Still, it's nice to be appreciated for holding down the low end. The trick is to always play in time even if you have to ghost a note once in awhile to catch up.

Two pedals is about my limit for wanting to plug in a bunch of stuff. Three = a board. Life is so much easier. Then I made a bigger board and had issues with the aforementioned power noises. More lately I made another smaller board. Boards are great! You don't need to spend sfa on them just tie the pedals down any old how. Spend the money on a really good true iso power supply first. There are cheap ones that are not true iso even though they claim to be. You're probably going to ignore me and then you will come to remember when you get your first buzz.

Can even play it at left/right out.

Need to be careful with terminology here. What you are mixing to his monitor may or may not be the cause of your remaining f.b. Everyone points at the bass player when there is something howling down low. 99/100 it's not the bass guitar. The first thing is to be absolutely sure which circuit is doing the feedback. Make sure it isn't the drummer's monitor that is getting back into a drum mic with vocal frequency.

There was one of the Ashdown combos with the sub generator left on when I plugged in at rehearsal. I thought it was broken. Switching it off restored it.

What about the older Landmark, RBI/RPM flavour? 600w of either, or blend.

Depends what you want to hear, what the synth likes for an input and what comes put of it. No easy answer. You might need 2 compressors, you might not need any. Best way to find out is plug in and play at gig volume.

Easier to relieve yourself of gas by swapping preamps.

I look at the size of the speaker and the price and divide by 10. Someone could come up with a formula with fudge factors built in so High St Price = P £ Claimed max SPL = C Speaker size = S in inches for the main one. Actual maintainable SPL = CxP/BxS/15×F Where B and F are fudge factors to arrive at real world numbers. They could be variable by brand.

I think that is because a DB is an accident waiting to happen just sitting there. DB was never meant to be strung up with steel strings. The ratio of wood to tension is kept marginal to leave it able to be picked up and still have some timbre.

I am thinking of the need to jump into other offers of work at some stage. Carry the big stick and speak softly for the meantime. I think both bands are pretty low key for volume requirements but it's good to be prepared. One time I took a total overkill rig to a trad celtic jam, just on the off chance that it might go off later in the evening as it was a farewell do. It so happened that there was a band booked for the later part of the night and they were sans bassist so I got a gig as well!

Comb filtering hell out front unless it's GF.Dead style separate stacks for instruments. As the subs are 3 and the the tops 2 per side I am calling nay, a thousand times nay!

Doubtful. Convenient to the extent that plug and play is easier but you have to spend big to get something that will carry a gig. Plenty of 2nd hand amps and cabs that can carry a rowdy gig by themselves if required.

I bumped your other thread. Best carry on there and let this die.

Jeebers. Talk about paralysis by analysis. How loud do you need to be? Pick one and look at the rest.

It will work. Will it work for you? Dunno. One thread per rig selection works best.

which will shift all around depending on the impedance on the low side. I would not like to predict the shift in relative amount of power sent to the horn between having all three woofers to just one. It will do bad things to the tone or bad things to the horn or both. Safe thing to do is the more ergonomic 310 with tiny footprint the way MB should have done it in the first place.

Good luck figuring out all the bits to make it switchable. It's a proper horm so it must have a proper crossover.