EBS_freak

Worth noting that 823-832 is part of the shared mic license (fee based) as opposed to the 863-865 free, no license required, frequencies.

It's not just the proximity that can lead to interference, it's more accurately where intermodulation occurs. However having said that, the frequencies are so far apart, if intermodulation does occur, it's likely to be inconsequential and certainly low enough power and beyond the 5th order to be concerned about. If this means nothing to you and you want to to understand intermodulation, here's a good 5 min read - https://www.shure.com/en-US/performance-production/louder/all-about-wireless-intermodulation-distortion

Always liked this song. Nice. I wonder if you get through a shed load of E strings! (Appreciate this is probably how the song should be played for all the subtle glissandos). Top work. I enjoyed it - haven't watched these kinda vids for a while so this was a nice one to stumble onto!

Buy once, buy right... ...oh.

Somebody's got to keep the economy going!

It’s the middle digit in the RCF models that gets you the benefits! The more you can offload through the horn, the better.

Possibly. Again, it depends. It's probably somewhere on the boundary of high SPL and resonance...

Psychology. It's still a point though - the feeling of high SPL stage could certainly influence how you mentally feel on stage.

Been there. Amp on a stand at knee height firing up a the guitarist and across the stage (basically at 90 degrees to the mics)

Freqout.

Woah, now we are on the fringe of thread descending into chaos. Sub placement, separation, stacking, cross firing... or... cardioid! Oops - forgot to include... the answer to underpowered band pub sub placement is normally coupling with a wall! (And then there's the risk of your band turning into swampy bass mush. Use with caution! )

Thats a very brave statement. Not all pubs are equal. It also depends whether you are filling a dance floor with music... or the whole venue.

It's more about the box that it's put in! Yes, you can get high displacement drivers - but then that brings in other challenges. But in the interests of avoiding arguments, I'll keep my mouth shut. I prefer 15s and 2x18 inch subs. I have the option of ditching the subs for the smaller gigs where I dont need the low end support and can work the tops harder. Ultimately it's about headroom. There's all these discussions about what size speakers sound better - but in reality, for the stuff that our ear is most sensitive to, it's the inclusion of a decent horn that is most important and the ability to lower the cross over point. (So in my cabs, it's the horns that are doing most of the lifting across the audio spectrum leaving the woofer to work purely on bass purposes. Of course, I can then free the woofer in the top even more by introducing the subs... But ultimately that's a different discussion point. As Jack alludes to... can you get lows out of a 10? Yes. Can you do that at volume? Well, not as easily as 15 can for the reasons that he mentioned. And of course, for a same x max, you are pushing way more air in a 15 than a 10. So whilst your 10 maybe able to handle the lows at low volume, can it do what you need it to when you start driving it up? Incidentally, a band that I used to play with from time to time used a single 12 inch sub. Not great at all, it quickly ran out of headroom. However, when I introduced a trigger for the kick drum, with a highly processed sample and run through a limiter before hitting the sub, it hit surprisingly hard... but thats cos I was really controlling the dynamic range of the lows that was going to that sub. And of course, with it not being a mic, meant that I could process it pretty hard without the risk of feedback. A kick drum mic - you'd get nowhere near the equivalent out of that sub.

There is a big statement to be made surrounding all of this. And it comes down to processing. If you can play a piece of prerecorded music and it does the job through your PA speakers, it stands to reason that you could do the same. HOWEVER, nobody usually processes their live desk to represent what is happening in the studio. Lots of compressors, lots of limiters. And if you do, you'll typically get into feedback problems before too long. What I'm trying to say, is that you can normally extract more out of some PA boxes with some careful processing. For my purposes, would I trust 10s... or even 12s? Well, I'm the 15 inch cab space for a reason. Out of the box, they can typically handle the bottom end better and tend to have more headroom without the need to go into more processing at the desk (which may not even be available to you).

I’d defo say that the pres in all these prosumer desks aren’t up to much compared to some of the nicer single low channel count interfaces. Factor in varying qualities of analogue to digital conversion chips and your ears are probably going to pick something up sooner or later. I’d also wager the entry level focusrite interface pres are built to a budget compare to some of those interfaces out there! But then again, as I inferred above, they are probably good enough for most. (Especially when they aren’t being ABed to anything particularly nice by the intended consumer!)

I can’t make out. Is that just the clear? If it is, wet 1500 around a thin dowel, drop fill some clear top coat until it is proud of the surrounding area. Denib the proud paint. Then 1500, 2000, 2500, 4000 (on a block), compound and polish to finish. Although you may want to polish the whole bass because you’ll be left with a super smooth shiny spot on the bass otherwise!

4 string - but the inlays are missing. Think we are pretty close.

Can you stick up a pic of the scratch?

That headstock looks quite Marleaux... two ticks. Off to google.

I think the secret to finding this bass is going to be recognising the position of the knob which is located behind the bridge. That's really quite rare to as there's not normally that much wood behind the bridge. My mind did shift to Warrior as I knew that they did that 3 in a line with 2 underneath the bridge and bridge pickup... but no, no cigar. Again, with Tobias and MTD, that rear knob is in the wrong place.

Now I've unconvinced myself.

MTD I reckon.

You're right, the prices are coming right down - and Eastern bulk manufacturing and reuse across brands, even more so. It seems like any audio device is almost expected to be able to function as an interface nowadays. However... The next big thing is 32 bit... clipping is a thing of a past now as it can all be recovered. Gone are the days of poor gain staging. Funnily enough, only yesterday, I was looking at the new Zoom 32 bit field recorders... and this - Of course, the big separators remain the quality of the preamps. The preamp on an interface, or a dedicated preamp upfront, can be the difference between something sounding thin - or fat and full of harmonic content. Yes, you can manipulate in post - but nothing gets close (and I'm not talking from an arty farty pov here) to a really good preamp. Really good preamps on high channel recording desks will run into multiple of tens of thousands of pounds. However, a unit with one or two pres can be enough for a really top end project studio - although drums may still be a challenge! In answer to your question, I would guess most people could do with whatever interface they can get their hands on, especially if it's just for using in an amateur capacity. If the desk works for you, why would you bother with an equivalent quality interface... assuming that you can be bothered with plugging / unplugging a desk if you are using it elsewhere.

I like the idea of an always on tuner - always useful if you are holding a note, you can tune mid song/bar without your sound dropping out. Then you have the mute for when you do want to drop out and silent tune.

Imagine standing with your setup now and sticking your fingers deep into your ears. Thats the isolation that an IEM will typically give you. With your IEMs, all you need is a little volume to get over that ambient stage volume. In reality, the volume you need in the IEMs can be pretty quiet - and it certainly can be a lot less than playing with no hearing protection. If your backline was for your monitoring needs only, you may as well save your back and journeys to and from the car - assuming that the PA can cover your FoH needs without backline. (I'm also assuming that nobody else on stage is requiring your bass cab for their monitoring needs). UE6 vs A4s are going to be largely separated by price. If you can afford to go to A4s, then the balanced armatures in the A4 will reveal a greater level of precision, especially in the mids and lows. The UE6 has a warmer timbre due to the inclusion of dynamic drivers and arguably not as detailed (but you know, I'm talking in uber obsessive terms terms here, the UE6s are going to sound way, way, way better than the majority of universal IEMs). If you haven't clocked already, the UE6 is a great IEM in that it has greater headroom than 3 balanced armature based IEMs (by using dynamic drivers in the mids and the low (dynamics have more headroom than BA). So the key bit for bass players, is that where you need the headroom (in the lows), a balanced armature IEM would need 2 bass balanced armatures drivers to have similar headroom to the 1 dynamic driver in the low. The easiest thing to do is listen to the difference and see if the extra money of the A4 is worth it to you... (you may even prefer the sound signature of the UE6. I love the UE6 and would be one of my top choice IEMs for sure).