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Phil Starr

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  1. If you can do tell more. Obviously we wouldn't expect commercially confidential details but the general principles of what you were trying to achieve and the methods you used to get there would be really interesting.
  2. The important trick is to buy a new set of Stanley blades. They need to be really sharp for the best finish. Love the vinyl, haven't seen it called leatherette for a while and yes I've done the upside down trick, there aren't many mistakes I haven't made.
  3. I've used a single 310 at rehearsal and wouldn't hesitate to use it as a stage monitor at a gig. They are a bit bass heavy when not on poles so as floor monitors for bass you'd roll the bass back a bit which would give you decent headroom. A pair of them would certainly do as bass speakers but I don't think I would use them as full PA including bass and kick without subs. So much of this depends upon what gigs you are doing and what your ambitions are. We are your typical pub covers band with a few functions where we normally are expected to be at a comfortable volume. the few bigger (small festivals) gigs we have done have had hired in PA's. We've never needed anything our QSC12's can't cope with. I've got subs and other tops but never needed them with this band. I've looked at RCF 735's but I'm not sure I can justify them, or want to lift them onto poles. I'd say your next step ought to be looking at a new mixer, I paid £335 for my RCF M18 and I'll get something for the Yamaha MG it replaced so the upgrade is only going to cost me less than £200. The Behringer isn't much more. That gives you benefits straight away as the mixer is just easier to set up and has so many more options for improving your stage sounds. It's simple then to move each band member to IEM's as you already have 6 or more Aux outs ready to go. Once a few of you have gone that way you can then move to putting more through the PA and upgrade your speakers then. If in ears didn't work for you a second set of ART 310's as individual stage monitors would let you go in that direction for a lot less than bigger better PA speakers. £10's with a sub are already quite a capable set up. Lot's to think about eh?
  4. You shouldn't need to retighten the router at all but the collets sometimes aren't all that smooth and mine has a kind of false biting point where you get resistance but it isn't quite tight. It's worth double checking is all. They are one of the more lethal bits of kit, The rotation speed and gyroscope effect gives them a mind of their own and nothing else I have rotates anything like that fast. There's also no safety guard once you've locked in the depth of cut. I much prefer mounting the router and moving the workpiece if i possibly can, I don't enjoy freehand routing.
  5. The 12PR 320 is the one we selected for the Basschat 112T cabinet as the best value for money/performance compromise we could find from any widely available manufacturer. It has been very widely tested and reviewed in these forums and i believe about 20 models have been built. That said it was selected or use in a 2 way cab. The decision might have been different if we had gone for a single driver without the tweeter. There are differences in the frequency response too with the 320 flatter up to 1kHz then with a pronounced but well controlled break up above that. However it isn't quite as simple as that, the big advantage o the 320 is the long voice coil and the consequent excellent excursion, that means it will handle the 300W thermal very well, it also has a heavier cone and will potentially go a little lower. Vas is higher though so it will probably need a bigger box, you'd have to mess around with the modelling to see if it was significant though. However if you were going to use this at lower power excursion might not be an issue but extra sensitivity welcome. The two speakers won't sound the same either looking at their midrange frequency responses and i wouldn't want to guess which you'd prefer. If it helps I went for the 320's which are really nice speakers at any price. I know @Stevie is looking for a better speaker at a price no object level and is finding it hard to find anything which is significantly better all round. It helps to start with a design spec in mind too, what do you want to use the speaker for?
  6. "I did have a scare as I was not checking the tightness of the router bit after every pass. On the 4th or 5th cut the bit must have loosened and my cuts got shallower as it pushed the bit up to the collet. I am really glad I stopped at this point and did not hurt myself with a metal cutter spinning at 20,000 RPM." I did that just once, the bit flew out like a bullet and smashed on the wall opposite bending the metal shaft, you really wouldn't want it hitting something soft
  7. Hi Al, our band are going through this slowly and each stage is an improvement. When I joined them I went to see them a couple of times and nearly didn't join them because their sound was so unstable. loved their set and they are really good people in every way but I'd just left a much tighter band and didn't want to go backwards. The starting set up before I joinedwas with no monitors but the singer used in ears just to shut out the on stage noise and hear herself sing. I can't pitch without monitors so first gig i took my ART310's along. They are fabulous monitors, no sonic nasties so you can push them really hard before feedback. Having good on-stage monitoring really tightened the band up. So at this point we had pretty much your phase B. Only with QSC's as mains but retaining back line, turned down however with bass/guitar going through the PA as well but turned down. Our next step was to purchase a new mixer RCF M18. this has 6auxes and separate mixing with phone apps. First gig I used the monitors with separate mIxes then the drummer and I went in ears. I just used the XLR out from the floor monitor to feed the IEM's so I could pull them out if there was a hitch, there wasn't. The drummer now has IEM's with ZS10's and a Behringer P2 and the guitarist has bought the ZS10's too. I'm expecting the floor monitors to go soon as we get used to it. I haven't had to explain anything, each step was a small one and each one was a noticeable improvement. No arguments we just tried things and they worked. Change is scary for a working band, it might lead to something better but we are all terrified of gear going wrong and having to play through it badly in front of an audience. for band members who don't understand tech it is doubly terrifying. Honestly I think you would benefit is lots of ways in separating your on stage and out front sound and a step by step approach does take people with you. Getting the in ears right is the revelation, you can hear everything like you can in the studio recordings, even better you can turn it all down to a level where your ears don't ring. You even have a volume control for the guitarist and the drummer All that depends upon the mixer with Auxes for all the band members. The old mixers that could do that weren't really portable and cost more than most bands PA, digital has changed all that. Oh one last thing, I use the RCF 310's with my duo for everything including bass. Put those babies on poles and the bass sound will be the best you've ever heard outside of a full pro touring rig. they aren't really designed to be flat response on the floor put them at ear level and let them sing, try it in the rehearsal room, I promise bass heaven
  8. There are good reasons to choose to simply double up cabs, it is the only way to preserve the original sound and only increase the volume. It also avoids the problems of matching power handling, loudness, impedance and all the other technical and practical things. However you can 'solve' the technical issues to match cabs and it is possible to get a good sound, just different from either of the cabs you are using. The only problem is like blending spices you can never sure if they will clash or complement until you try them and the perfect blend can be a matter of luck or a lifetime trying things. Why do you want a second speaker? Isn't this one heavy enough ? Seriously though it's a 400W 15" speaker in a big box driven flat out it's going to be louder than your drummer and is going to make it difficult for your singer to hear themselves as well as bleeding bass guitar into all the vocal mic's. If it doesn't cut through then that is more likely to be about frequency response and eq or the noisy bad manners of the rest of the band rather than lack of ooomf. You might be anticipating a problem you don't actually have. I'd wait and try it on it's own first before deciding if it needs back up.
  9. one of the big advantages of @Ashdown Engineering is that you can ask them
  10. We did a shootout with the 121 at the Southwest bass bash a few weeks ago, it was up against some much pricier FRFR opposition but was very obvious that it has a quite strongly 'flavoured' frequency response. Not a lot of deep bass but a very noticeable hump in the 80-160Hz region which a lot of people like. Without going into technicalities it's also what you get from a lot of old school 4x10's. It's probably worth knowing that this is the sound you like. I can't imagine the situation where a decent 4x10 wouldn't be 'enough' on its own as you will be easily louder than the drums. I'd probably back the idea of looking for a stand alone 4x10 that sounds good to you and have the options your other speakers provide. The vertical 2x10 stack is a great idea for dispersion but you'd still need to look for 2x10's that are voiced to give the sound you like.
  11. This all sounds very familiar, I use a Sheppach site saw for this sort of job and with the English weather working outside is a problem. My workshop is too small to manoeuvre an 8x4 sheet. Lots of temporary tables to set up. I recently bought a cheap plunge saw with a track and it means I can now cut the board down initially with much better accuracy than with the Skillsaw. It also does a scoring cut which is so successful I've started doing it with the table saw. Someone locally is selling a big industrial panel saw which I'm very tempted by but I've nowhere to set it up at the moment. I'm going to try my next build using just the plunge saw just to see how accurately I can cut with it. It's this sort of thing YouTubePlunge Saw
  12. I'd strongly recommend the wine if like me you like full bodied reds with a really smooth oak finish. Portugal are producing some fantastic value wines at the moment. Can't remember if it was Naked Wines or Laithwaites
  13. I see Barefaced are claiming 98db/W for the 210. 280W into 4 ohms from the Gnome will give you +24db or 122dB overall. that's going to be loud enough to match a drummer.
  14. The AER is always a good shout if you can afford it. Lovely sounds impressively loud for the size and versatile too. Can I suggest the Warwick Gnome/TC Bam route though, perfectly clean sounding (partly I suspect because they use generic chipsets and boards) 200W or even 130W through 8 ohms is plenty for working with an acoustic set and fits in your gig bag. Frankly at £120 you can't go wrong and if it's a mistake you'd be able to sell it on for £100 I've designed a tiny cab for working with acoustic bands, if you are West Country based I'd love a second opinion if you wanted to borrow it .
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