My #1 request please

    Number ONE would have to be having separate HPF & LPF for Main outs and Monitor outs. I know there is separate EQ for both, but my monitor cab with powerhead is very woofy at low volume and just fine direct into the board, and Taking the bass from the monitor EQ isn't the best fix. If Main and monitor outs each had their own HPF & LPF you could better match eq between direct to house/board and your monitor cab sound, and I hopefully wouldn't be too hard to implement.


    #2 being the offset able tuner thing where you hit your E string tuned to Eb and it reads E........

    Hi, Alan.


    Quote from Wheresthedug

    just been through that thread with a lot of cutting and pasting into translate.


    There's a lot of great reading in the Babylon - Local Language Threads especially Forum in Deutsch


    I read them using Google Chrome. There's an auto-translate option. No cutting and pasting involved.

    Quote from Wheresthedug

    just been through that thread with a lot of cutting and pasting into translate.


    i think its safe to say that CK isn’t a fan of the idea ?

    I wonder why? The separate sections have an EQ... IMO having LPF& HPF the same over the main & monitor outs makes no sense at all to the point of making it useless. The issues with lows and highs are never more evident than as heard between your live cab (in a corner on the floor or out in the open on a big stage) and the house or studio out.

    ckemper seems to have made a pretty logical case in the thread ST posted the link to. I think he has also contributed to several other threads in the main section and maintains a consistent position. I happen to agree with you and others that separate EQ (including filters) makes a lot of sense but I can also see the other side of the argument.


    CK’s position seems to be based on the assumption that everyone is using decent pro level FOH Pa with a competent sound engineer AND that the venue is designed well for acoustic purposes x both on the audience side and stage side. This is where I see a disconnect with many users requirements:


    a substantial number of users run their own semi-pro level PA systems and have to engineer as well as play as they don’t have a FOH engineer


    also, while there are some great sounding venues the vast majority are spaces designed for drinking, eating or some other function with no thought given to their acoustic performance. Unfortunately, a great umber of these venues also stick the stage in the worst sounding spot in the room simply because its the only place available or because it has least impact on the ability to sell drink. I have played in where the drum kit was basically in a cave along with the bass and guitar amps while the band stood in front on the mouth of the cave. In fact this aptly describes the horrific layout of one of Glasgow’s busiest small venues (The Renfrew Ferry) for the last 20+ years. Our sound engineer would euphemistically refer to it as a “hostile sound environment” ?