This summary of the video was created by an AI. It might contain some inaccuracies.
00:00:00 – 00:10:18
The video provides an in-depth review of the Headrush 108 monitor, a 2000-watt full-range flat response (FRFR) monitor commonly used by musicians. The reviewer, who traditionally used a guitar cab on stage, decided to test this monitor to enhance their performance. They highlight the monitor’s key features, including its two combi jack inputs, output with ground lift, and a frequency switch that scoops the mids. After three months of use, the reviewer found it to be impressively loud and powerful but somewhat bass-heavy.
The importance of low-cut and bass content management, as well as mid-range adjustments for live performances, is emphasized to ensure sound clarity. The monitor’s lightweight nature and elevated placement benefits are noted for reducing stage and front-of-house noise. A significant design flaw mentioned is the inconvenient placement of power and input jacks.
Some of the negatives include the volume control affecting the DI output, the inconvenient placement of the clip light, and the mid-scoop switch producing undesirable sound. The reviewer suggests improvements like a bass roll-off switch or a basic EQ set. Despite these issues, the Headrush 108 is praised as a cost-effective, relatively flat-sounding, and loud entry-level option for musicians, particularly if bought second-hand. The reviewer further discusses the versatility of the monitor, recommending the smaller 108 model over the larger 112, and invites viewer engagement through comments and subscriptions.
00:00:00
In this segment of the video, the creator discusses their experience with the Headrush 108 monitor, a commonly requested topic on their channel. Traditionally using a guitar cab on stage, they decided to try the Headrush full-range flat response (FRFR) monitor to improve their sound. They provide an overview of the Headrush 108, a 2000-watt FRFR monitor with an 8-inch driver and a horn, resembling a PA speaker.
They elaborate on the monitor’s features, which include two combi jack inputs (quarter-inch or XLR), an output with a ground lift, and a frequency switch that scoops the mids. After using the Headrush 108 for approximately three months in various performance settings, they share that the monitor is impressively loud and powerful, handling all situations well except one particularly loud gig. They note the Headrush 108’s robust low-end response, suggesting it might be a bit too bass-heavy for some users. The video aims to provide a practical review of the monitor’s pros and cons without including sound clips, due to the difficulty of accurately capturing FRFR speaker audio.
00:03:00
In this part of the video, the speaker discusses the importance of carefully managing low-cut and bass content when placing a particular piece of audio equipment on the floor. They highlight the necessity of mid-range adjustments for live performances to ensure the sound cuts through effectively. The speaker notes that while the equipment’s shape is suitable for floor placement as a wedge, better results are often achieved by raising it to decouple it from the floor, ensuring the sound hits the ear correctly.
They also emphasize the equipment’s lightweight nature and its benefit in reducing stage and out-front volume. For larger gigs, the equipment can be angled to direct sound away from the front-of-house mixing area, keeping it clean while providing sufficient on-stage volume for the performer. However, the speaker points out a design flaw: the placement of power and input jacks causes cables to hit the floor unless the equipment is used upside down, which they solve by taping over the logo for visual consistency.
00:06:00
In this part of the video, the reviewer discusses some potential negatives of the Headrush 108 monitor. They point out that the volume control also affects the DI output, making it difficult to adjust stage volume independently, which is seen as a design oversight. Additionally, the clip light is inconveniently placed at the back, making it hard to see in live situations. The mid-scoop switch is criticized for being counter-intuitive for guitar monitoring and producing undesirable sound, with a suggestion to replace it with a bass roll-off switch or a basic EQ set for better control across different venues. Despite these negatives, the monitor is praised as a cost-effective and relatively flat-sounding entry-level option for those seeking a full-range solution for their modeler, although it may not feel like a traditional cab. The reviewer highlights the monitor’s loudness and fair pricing, advocating its value especially if purchased second-hand.
00:09:00
In this segment, the speaker discusses the versatility of a PA speaker they own, noting its use with a Roland guitar synthesizer, as a stage monitor, and for other utility purposes. Despite acknowledging some personal improvements they would make, the speaker is satisfied with the PA speaker, recommending the smaller model (108) over the larger one (112) due to sufficient performance without the added size and weight. They invite viewers to ask questions about the product in the comments and encourage likes, comments, and subscriptions to support the channel.