Jack

Yes, it's technically superior for sure. However, the major drawback is that recording via ethernet requires another pc on the other end of the ethernet cable. You've then got to plug that pc into the wall, plug the ethernet cable in, turn it on, fire up a DAW, setup the channels, etc. It's much easier to just plug a usb memory stick into a port on the mixer.

Oh man, too right. We used to use a rackmounted pc with Ubuntu Studio on it, now we use the guitarist's laptop. The Behringer will do every channel (pre everything) but only over ethernet. The advantage to your Mackie (or I want the A&H) is that it does it direct to USB. My Behringer will only do stereo L+R to USB. Still it means we get every gig for just us to listen to (go over mistakes and that) and when we can bothered to set up a proper laptop we can have everything to mix later in a DAW.

You're welcome, sorry I quoted your post but I'm aware that it was also aimed at @Frank Blank. If you think of those rackmount mixers as mixers then they're versatile bits of kit. If you start to think of them as loads of inputs connected to a really flexible and reasonably powerful PC then they're truly astounding. I use the XR18 in two bands (with a scene for each band instantly recallable) and I love it. I lust after the Allen and Heath QUSB. Next time, maybe.

The problem with that is that anything else plugged into the mixer would need an identical channel in each scene. As in, say you have a vocal mix plugged in channel 1. When you change a scene to move from bass to guitar, you'll need an identical channel 1 set up for the vocal mic in the new scene. If youv'e changed a setting or something on the vocal channel it'll get really tedious having to scroll through lots of scenes to change it in all of them. The other thing to do (as long as you have more channels than instruments) is have a virtual channel per instrument in the mixer (say, channel 1 for bass, channel 2 for guitar, etc) and then you can use midi to assign any given physical input on the mixer to any virtual channel. That way each instrument's channel would always be live and you would negate any scene issues. So there's one cable from your place on stage to the mixer, but you're using midi to essentially really quickly unplug that cable from one channel and plug in into the next. Mind you, I'd just have a channel per instrument and live with having several cables, no midi needed!....

It has to be the absolute winner in terms of cm^3 per £. You could land a helicopter on it. You know, that might be a selling point. Maybe.

You say that as if you don't...

So, setting up a scope under Linux is a right chew on. I used to have a separate Ubuntu Studio PC that has a great scope application on it, but it's right pain to get that working on a normal desktop. I was able to take some very rough measurements using the RTA analyser on my XR18, but it's not what you'd call precise. It looks as though the bass control is shelving, with maybe an 80 or 100Hz knee. The mids are pretty wide and centered somewhere around 600Hz. The treble control starts affecting the sound at around 1.6Khz and its very extreme by around 4KHz. Pre-Shape cuts a wide swath around 1.5Khz.

Yes, the manual, packaging and advertising copy are definitely some of the areas where they've saved money. IIRC I think mine just came in a plain cardboard box.

I have both of the behringers. They are great preamps, but no good for this application as the tube was put there by the marketing department and not the engineering department. They don't really sound 'tubey'.

The obvious answer is a 4u case... That way there's room for a wireless and a tuner. 😇

Can you elaborate on this some more please? If there's a way to easily daisy chain this I'd be grateful. I've been using a polarity inverter cable so far and it's been fine but I'd like a less forgettable solution!

3 votes for common sense and yet:

Hey guys, Is there a consensus? I'd always applied the hook to the board, and the loop to the pedals, that way when one takes a pedal off a board and uses it on it's own the pedal doesn't pick up all the rubbish in the velcro and ruin the carpet. That seemed to make sense to me and for many years there was joy. Nowadays, with the advent of the internet, camera phones, 'show your board' threads and the BC marketplace, it seems as though most people prefer the hook on the pedal. Am I missing something?

OBBM's are definitely the best. Honestly cables do just break, don't sweat it.

Phil covered all the good stuff, all that's left for me to do is to confirm his suspicion, the reason you get them on acoustic instruments and amps is because they feed back really easily at room resonance type frequencies. It can be useful on electric bass too in a very howly room. No, but I've been itching to use a proper scope for ages, this might be a good excuse...

Thanks, Cameron. This is good to hear. Funny, that... 😎

What do you think of the 32A Cameron? Does it go 'rock drummer' loud?

Hi guys, A few times I've espoused my love of the incredible (and very sexily-named) Studiospares 458190 preamp and DI box. I've had mine around 2 years now and I love it. On the upside it's got a decent 3-band eq, a notch filter, a preshape/midscoop thing, effects loop yada yada yada. Most importantly (and more preamps should have this) separate volume controls for both the XLR and TRS. On the downside, it's as big as a house and it's stupidly 9V center positive. Well, you can get around that by using the battery or phantom power I suppose. Anyway, I think I more than got my money's worth when I paid £45, then a few months back I noticed they went up to £50 (hey, prices rise, inflation, whatever) and they were still more than worth that. I noticed today that they're down to £30+delivery. I actually thought the one that I saw on ebay had been incorrectly listed or B-stock but no, that's just how much they cost now. For £30 I'm not sure that there's a better DI box. For £100 I'm not sure there's a better DI box. I have to stress that I have no affiliation or anything, just a happy customer passing on, what is IMO, a great deal.

I get that, but I would hazard a guess that over 90% of musicians never tour. I understand the need for manufacturers to have halo products made for touring (even signature stuff for endorsing artists) that get us all excited, but realistically the gear that a lot of us lust after and the gear that best suits our needs isn't always the same. I understand why not ALL gear can be tilted, but I bet a lot of people would benefit from a kickback amp, particularly as 'amateur' live music venues get rarer and stages get smaller. I'm amazed there aren't more designs like that. Companies put a lot of time and effort into market research, and I'm sure they'd provide them if there was a market, so maybe there isn't a market. But I'm surprised there isn't...