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18

This is called feedback. Put simply, the microphone hears some sound. It sends it to the amp. The amp sends it to the speaker. Some time has passed. The microphone hears the sound from the speaker (now louder), sends it to the amp, and round-and-round it goes, getting louder each time. After a few goes around the loop, you reach internal limits and ...


13

The noises are caused by electronics picking up wireless signals from your mobile phone and translating the interference into sound. Well-shielded circuits won't have this problem, but it's common in consumer electronics and some musical equipment, notably guitar leads. There's no damage to your equipment, and if the sound is a problem just keep the phone ...


12

No, it will not damage the speaker. The high tones of a guitar are simply not capable of damaging your bass amp. Even if the amp isn't really suitable for these high tones (and in many cases, they can actually play them just fine), the amp will perfectly survive them. No harm there. The other way around is a much worse idea, because deep bass tones tend to ...


12

Well first, the amount of power inherent in the average festival rig or even an installed club system will dwarf what you can get out of any four speakers on the planet. That chest-thumping kick drum that's a mainstay of EDM is produced by moving a lot of air very quickly, creating a shockwave you can feel. That requires a lot of big cones, in turn requiring ...


8

It is true that a tube amp should not be operated without a load, i.e. without speakers (or a dummy load) connected. Solid state amps don't have that problem. The reason is that (almost) all tube amps use an output transformer, which can produce high voltage peaks if its secondary (output) winding is not connected, because the energy from the primary (from ...


8

A head is simply the name for an amplifier without a speaker. Your friends won't have heads on top of amps, they'll have heads on top of speakers (with the head driving the speaker). The "basic guitar amp" you have at the moment, is probably an amplifier and speaker combined in one cabinet. These are commonly called combos. There are several reasons for ...


7

Having faced this issue some times, the best reccomendation i can give you is first of all, listen to your recordings in various systems, the more, the best, because if you want the world to listen to it, you can never test every system in the world, so, try as many as you can and try to balance for the best in all the systems. Particularly, one of the best ...


7

Key factors (hometheatershack.com) are your woofers' combined surface area; their displacement, achievable low Hz factors and an amplifier capable of delivering the power needs of the speaker configuration. You simply cannot expect this, to do what this does, which makes it feel like this. Behind the bar at the club, you might find racks full of ...


5

Another couple of reasons why someone would choose head/speaker over combo : a comparable combo usually weighs more than one or the other, so is harder to hump around (poor old roady).Heads go wrong more frequently than speakers, so carrying a spare head to a gig is better than taking two combos. In defence of the combo, one doesn't need to remember the ...


4

Just mixing with headphones as recommended in a comment, is a bit risky, since the sound differs quite a lot from what you get with a couple of speakers. Some kind of monitors are definitely recommended. A good pair of monitors is obviously preferable, but the important thing is to know your monitors well. If you have a pair of imperfect monitors, but you ...


4

Defer this decision until you know where you're going to play. I'm going to assume you have an acoustic drumkit, which you won't be mic'ing up. So the drums set a baseline volume which the other instruments and voices need to match. You actually don't need much to achieve this. The guitarist just needs a modest amp - one step up from a practice amp, ...


4

If you have access to a looper pedal, such as the Boss RC series, they have a line in. Connect the pedal to the looper, and then your MP3 player to the line in of the loop pedal.


3

Speaker damage is caused by either the cone moving too much, or the voice coil overheating from distortion. Most sounds from modern amps will not cause either, regardless of the instrument you connect. There is nothing that says you cannot plug a synth or a guitar into a bass amp, or a bass or synth into a guitar amp. If it sounds good, you can use it. ...


3

I'd have thought that merely plugging the player into the input would do the job. The volume can be attenuated via the gain pot on the amp., and also by the volume control on the player. Turn it down initially, as there will be a propensity for lots of sound. The speaker extension output - it may already be switched, and cuts out the internal speakers of the ...


3

I'm going to play devil's advocate here. A PA is a collection of parts. That means you can start out simply and add pieces as the need arises. Here's what I would do: Look at the plastic-bodied powered speakers. They have amps, EQ and one or more inputs. You can begin with only one or two and plug mics directly into them and off you go. If money is an ...


3

In and of itself, the presence of multiple frequencies does not produce any distortion or frequency modulation. The idea of the high frequency waves "riding on" (or being "pushed by") the low frequency waves can be misleading in this context. Intermodulation effects require some non-linearity in the system, i.e. a distortion model. Most the most basic ...


3

The replacements would appear to be black widows, 15", 8 ohms, with more power capacity than the originals, which should also be black widows. Good speakers ! First check the drivers out of circuit, using a small battery. 9v will do. When it's connected to the speaker, the cone should move out or in. If not, it needs changing. If it moves, it should either ...


3

First of all, if you have a choice (and why wouldn't you?), avoid an impedance mismatch. So my advice would be to get one more speaker, either 4 or 8 Ohms to get an impedance which you can match. Then you don't need to worry, and if your amp ever dies on you, you won't have that nagging feeling that you should have known better ... Having said that, and if ...


3

If we first simplify things to consider that the speakers are in an infinite space with no walls, floors or reflective surfaces, many of the things you mention have to do with, as you say, the amount of time the sound takes to get to the ear from each driver. Let's also pretend for a moment that people have just one ear! If you were to place two speakers ...


2

Recording studios used to have (not sure if they still do) a set of 'ordinary' speakers to play back final mixes through. They were the sort that Mr. Average would have in his front room.Hi-fi, but not state of the art, just a fair sound. A bit like i-pods produce now.The eq. would be set flat. If your speakers already produce lots of bass, I can't ...


2

Take the front grille off and do a visual. Ancient speakers often have the rubber "surround" (which holds the cone to the internal faceplate) crumble into dust. Luckily, it's easy to get replacements in kits which include detailed instructions, matching glue, etc. I fixed my Advent speakers this way.


2

The above two answers are correct, however, here is some more details: It's called electrostatic interference. It's caused by unbalanced cables picking up radio waves, basically acting as a radio antenna. If you are using an amplifier or a loud speaker this may be fixed by running a balanced cable instead or an unbalanced cable. If you go to purchase one ...


2

Hold on for now - things may change, you may decide that actually two mics will suffice, since you could share, no need to mic up drums/gtr/bass, etc. Use two or three rehearsal studios, and try out their gear. Talk to the guys there to get some more ideas.I'm going to disagree with slim and state that you shouldn't need monitors. Place a p.a. right, use ...


2

Mainly, you should consider the number of inputs, as well as the wattage. You mentioned that you have a pianist, electric guitarist, bassist, and drummer, who all share vocals. So first and foremost, you're going to need at least 4 mic inputs, as well as 3 quarter inch inputs, if your guitar players and pianists are going to be plugged directly into the PA ...


2

An effective way to have noise-isolating headphones is to use earphones under industrial muffs. You don't specify whether they are to stop others hearing what you're listening to, or to stop extraneous noise getting to your ears, but this will work either way.Obviously, full size headphones won't do it, but smaller, good quality in-ear phones will. The ...


2

This is what the impedance spec refers to: http://en.wikipedia.org/wiki/Electrical_impedance It's nothing to do with sound isolation. I doubt there is any spec that can accurately represent the level of sound isolation. This is because the level of isolation is almost entirely dependent on the fit; How well they fit to your particular head shape and the ...


2

If they're 2x8 Ohm in series, then yes that would give 16 - but guessing is no good. 3 ways to find out, check the maker's plate on the back, get a multimeter & test it, or take the back off & look. For an annoyingly under-technical explanation, read on... The reason 16 is 'safe' is that amps have a tolerance; 8 - 16 is pretty standard. Some can ...


2

Don't. "Impedance" means that for any sinoid voltage applied to the terminals, the effective current will not exceed the one derived by Ohm's law. But it does not make any claim that the impedance will be constant over frequency, or that the phase of the current will be the same as that of the voltage. Amplifier standardize on the output voltage: how much ...


1

One thing worth mentioning is that loudspeaker impedances are minimum values over the frequency range and vary over frequency. The frequency response is for a given voltage. A consequency of this is that two loudspeakers of different build put in series may not divide the voltage up evenly between themselves. So whatever arrangement you end up forming, ...


1

The outputs of the DDJ-SB are RCA, and the inputs of the BX5 D2 are XLR and TRS (you can use either). You can use a cable with a pair of RCA males and a pair of XLR or 1/4" TS (you use TS instead of TRS because the DDJ-SB's output is unbalanced). Like this one or a pair of this one. You can also use a dual RCA male - dual RCA male cable and use a pair of ...



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