Monckyman

I use as my main gigging bass an 1982 Hohner P with a 2007 Fender min neck. Fits perfectly and plays well.

[quote name='christhammer666' timestamp='1358451588' post='1939548'] have suggested all this....ill turn up watch it turn to sh*t and when they admit i was right ill just stand there like a smug twat [/quote] I like. Bass players Bible quote Number one.

It's fraud. Almost. It isn't an accurate and up to date portrayal of the item. I've just been trying to find a small lighting truss and came across an eBay ad stating "Picture featured is NOT the item for sale, the stands are different and the truss is smaller." Naturally, I didn't bid. Put it this way, would anyone buy a car who's only picture was taken last year? Of course, we don't know if the pics are new or not, unless we took them.... ..

Saving as we type. It's definitely a working desk. I used one at a Romanian festival last autumn as a monitor desk and it was superb. Quick to get around, sends on faders for easy access, good EQ. The band are analogue heads and usually gripe about digi desks but nobody said zip at this event. They just updated the ipad app to access all EQs gains, scenes routing and released an iPhone app that can access an individual aux mix... Def worth the cash, but I think the S16 cat 5 input boxes are expensive at £700.

I don't care about HMV going down. I'm sorry for the workers and that's about it. It was just a shop. Nobody in that company cared a toss for music, it was just a product, and what's more, a product they didn't understand. It could have sold shoes or bacon as far as they gave a f***. If online shopping hadn't forced prices down, they would still have been charging £20 a cd like they we're in the 90s despite artists protests. Amazon rules now.

[url="http://www.ebay.co.uk/itm/Bass-Bins-/251211085722?pt=UK_ConElec_SpeakersPASystems_RL&hash=item3a7d58f79a"]http://www.ebay.co.uk/itm/Bass-Bins-/251211085722?pt=UK_ConElec_SpeakersPASystems_RL&hash=item3a7d58f79a[/url] [url="http://youtu.be/8jr9hPbYmBo"]http://youtu.be/8jr9hPbYmBo[/url]

Ditto the bill fitzmaurice. If you can build a couple of his T39s you'll have the perfect solution. I'm currently winding myself up to build a pair to replace my ageing Black widow PVs. The horn loaded design will sh*t on anything front loaded for less watts and £ If you have 800 notes then you could afford Mackie 1801 active boxes and leave the amp at home. The Altos look ok, and they make half decent wedges too The TS sub range. Or, H&K do a touring range of subs that tick the boxes too. Good luck.

Singer"can we do Can't get no satisfaction?" Two months after agreeing we needed to concentrate on songs from this century to balance the utter sh*te he loves from the 60s Singer" erm no, I don't have an eBay account" when asked had he sold our old P.A that he removed for that purpose 3 months ago. Yes,am fed up with him.

Yes, but the in ears do a lot to prevent that just by not having a great lump of monitor wedge firing into your vocal mic. But.. Should you wander in front of the PA ( unlikely if its a wired setup)or dangle your mic into the guitarists wedge you may end up with feedback in which case a limiter on the aux out will prevent the worst of it. Still, a one U compressor is a lot lighter and cheaper than a wedge and amp. MM As above : )

Switches on mics are not a great idea. Some pop, others just get switched off at embarrassing moments, and it's just another thing that can go wrong. You won't find a switched mic at a decent venue or gig. I was being flippant with my comment, implying a switched mic would be a crap mic. Having said that, I put my drummer on a switched Sennheiser so he could switch it off on the songs he doesn't sing on,just one less thing for me to worry about. He invariably forgets to turn it back on though, so..... ; )

EBS, yep the X32 calls to me in my sleep. I intend buying one at the end of the year if work goes well. Only trouble is its just that bit too big for your average wedding,especially in a decent case though not ruling it out. I reckon I can fit our show on the Mackie and it will fit almost anywhere,but it has no mute groups or Channel links yet,hopefully they'll update the firmware soonish. Lots of interest free deals popping up too : )

EBS , we have a Behringer DX3216 Stand alone you get 12 mic pres 4 line ins, stereo in, 8 aux all switchable pre or post, 4 built in editable FX ,4 band PEQ +high pass filter on all inputs and the main out, comps and gates on all inputs. 4 outs for monitors+stereo out; 4 dedicated stereo FX returns and 16 bus outs. With the 8 way add on pre amp you can access the other 16 chans available giving 24 mic 4 line ins and 12 outputs.(8 on the pre amp unit) All shows can be saved and edited. If you don`t use a block of 8 inputs (24 to 32 for instance) you can route the aux outs through them digitally, and benefit from the EQ and compressors All in a rack for £400 It`s no Midas but It`s excellent for functions and weddings. If you don`t like the B word you could use the Yamaha 01v which is roughly equivalent but with less EQ after chan 24 and 2 less aux. I`m lusting for the Mackie DL at the minute,though it`s half the desk the Behringer is, the iPad control makes it tempting for weddings etc.

Or a mic with a switch..

Next pair get some heavy duty heat shrink from Maplins and reinforce the mini-jack barrel,or repair the set you have.

Blimey,big topic. IEMs don`t suit everyone, but if they do, they are the best IMO way to go, no doubt at all. Same sound gig to gig, no cymbal splash in your ear, carry in your pocket. They mostly come with inbuilt limiters to prevent hearing damage and of course, there is a volume pot on the actual unit for easy level adjustment for the muso. As has been said above, the trick is in getting a good set of buds or moulds that you are comfy with. Try doing that with an active wedge. Saying you need more aux outs or mixes for this is obvious, but you always need as many aux outs as you can get anyway. Sharing a mix through a wedge is OK, but I thought we were trying to do better than OK? For me, your desk needs a minimum of 6 aux outs, with at least 4 of them selectable to PRE-fade. Not many budget desks do this I`m afraid but there are a few winners like the Allen and heath Mixwizard. OK, Pre and Post fade.. Setting a mix or aux to PRE fade means that all the levels you send on that mix (example aux 1 bassists wedge) will be independent of level changes on the main faders. They will however share the same EQ and gain.(usually). This is great for monitor mixes and gives you the ability to do 4 completely independent mixes for band members. A Post fade aux would be used for sending a little of your inputs to a reverb or delay etc, and when you have that nice mix of reverb and vocal, you want it to stay that way, which because the aux send is POST fade, means the amount sent is dependant on the main fader. Example, turning the main vocal down takes the amount of main vocal sent to the reverb down with it. Which is nice because otherwise you`d end up with ghostly reverb vocals even though you had turned that mic right down.. I like passive rigs. I like active ones too, but I trust separate amps more, and I`m happier knowing I can change out an amp quickly, rather than open an active speaker to get at the internal fuses etc. That said they are convenient. At the moment we have a hybrid rig with active mackie tops and passive subs driven by a separate power amp and controlled through an active crossover. Add a couple of monitor amps to that and you have a large heavy amp rack. Ideally for me, I`d like to be all active FOH, for convenience and weight, but carry passive wedges for versatility and to avoid the hated power cables on the front of the stage. Thomann do a 4 way multi amp which would suit a bands worth of passive wedges and would cut down on weight etc. Routing aux outs in a passive system.Example We use a digital desk with 8 aux, 4 pre, 4 post. Aux 1 goes to the left input of a lightweight PV ipr amp (gives 250 at 8ohms per side) and the output goes to a 12" and horn wedge. Aux 2 goes to the right input of the ipr amp and outputs to a second similar wedge. We usually link another wedge to this mix, by daisy chaining from the wedge link through and this gives a 4 0hm load at 400watts. The singer and guitarist share this mix, although once I find another lightweight ipr I`ll be able to give the guitarist his own mix ( I have the aux out,which would be aux 3, I just needed amplification,which if you watch the For Sale section you`ll have noted me buying a couple of poweramps so I may well have that problem sorted.Thanks Ash and Discreet). Drummer gets aux 4 which goes to a small 4 input Tapco mixer on a stand by his right elbow, and this feeds a pair of Shure 2c in ears. We use a click track for some tunes and this goes direct to another input on his mixer so he can control the level without any help or going through the main desk. We can really only do this because the desk has so many aux outs, and there is internal EQ available on the outputs so I can voice the wedges properly. Auxes 5-8 are routed to internal reverbs and delays. On an analogue desk, if you wanted to use a graphic EQ on an aux output, you could do it two ways. One is to insert the EQ into the insert points on the output (if the desk has insert points) and this effectively puts that EQ in to your signal chain. This is the better way as when you PFL or SOLO the mix to listen on headphones to what`s going to it, you can hear the EQ in place as well. Essential for a monitor engineer. But.. if your desk has no inserts on the aux or mix outputs, then you can simply go from the output on the desk, to the input on the EQ, and from the output of the EQ to the input of the amp, and then the output of the amp to the input of the wedge. This is called Inline routing as opposed to inserted. It`ll work fine for most bands as they can hear the wedges themselves (they are effectively the monitor engineer )and can EQ to suit. One quick work around that shared EQ and gain thing, is if you have a spare channel or two you can split a vocalists mic input to two channels with a Y split xlr cable. One channel goes to L&R stereo output as normal, and is EQd to suit. Don`t send this to any monitor mixes. The second channel is gained and sent to the monitors, but NOT to the L&R stereo output. This means that you can now EQ that channel to suit the monitor wedge without affecting the Main mix. It`s not as good as a dedicated graphic of course but it will get the job done for free and give you that bit more headroom before feedback. Right, sore fingers! Hope this clears some stuff up, if not, keep asking! MM

spot on.

[quote name='lushuk' timestamp='1357446795' post='1922781'] I thought my band was crazy loud tonight, only to find my ear protector must have slowly slipped a little loose, I know have the humming from he'll in one ear oops! Maybe I need some better ones. [/quote] You band is too loud. It`s not big or clever to be louder than anyone else,just makes it impossible to play properly and makes you sound like sh*te out front. I know I`m coming across like an old w***er, but seriously, if playing a gig gives you immediate hearing problems, you are doing something badly wrong. Have a word with your band or go deaf. You decide.

Bubinga clad flotsam in the shape of Gandalfs cock with 14 active pickup variations. I understand there [i]are[/i] still brainbruised old hippys out there, but why make a bass for them?

Shouldn`t be any different to being in the one case if they are all on the same mains feed. Might even be better, as units grounded together by the rack strip in a case can cause problems, and so Humfrees (isolating rubber washers for the rack bolts) are often used to prevent a ground loop.