VTypeV4

If I get one, it'll be the SSL module I get first!

My introuction to the SD8 was a few years ago but it was simply 'have a look at this bad-boy, mate' in the yard at Bullet Sound. I've been on jobs with it but Steve has usually mixed FOH on it whilst I've been put on an LS9. Sadly, Steve left recently and is now working at Adlib so Dave at Bullet has had to get his head round it as have I. Over view: It is very nearly a 'walk up' desk with everything clearly visible on the large centre display and secondary screen. The centre screen is touch so anything you need to access or view in greater detail is right in front of you plus you can toggle what is viewed on it with the three buttons above the master fader. Fader banks are grouped into twelves but any bank can be put anywhere so I assigned my input channels to far left and right then master section to the centre. Flicking through the banks is equally easy by using the row of four colour coded and user-named buttons next to each group of faders. The knobs above the fader groups are also user assignable / switchable too with a similar colour / name system. As you would expect, this desk runs a 'Fader Group' style DCA system so I assigned all of my separate 'mix areas' ( choir, orchestra, front 58s, radios, band etc) to a mix fader group and largely ran the console from these. Channel Strip: Everything you could ever want really.Recallable head-amp with optional 'valve warmth' stage, 4-band fully parametric with separate HPF and LPF with variable slopes on each, a gate, a compressor (optional multi-band or pseudo valve style), all the auxes on knobs and / or faders, clear labelling and graphical representation of each and every parameter, an option time delay etc Everything worked beautifully if I'm honest, no complaints. Lots of options too, I think you can change where in the signal path all the modules fit (I think) although I didn't feel the need to meddle, especially on my first go with it. In Use: Pretty terrifying initially but it quickly puts you at ease with its well labelled and clear display. Input levels are metered easily by a string of arrowed green, yellow and red LEDs running parallel with the channel fader and on the masters too although everything is metered on the second display so keeping an eye on levels is no problem. Flying faders are always great, the groups make things much simpler once you have a suitable balance and watching a bunch of faders fly by moving just one is brill! Aux sends are simply two presses to put them on faders which is what I used although the option to assign knobs or use the 'selected knob' was also there. Master, aux and group grpahic EQ sections can be assigned to the master section but I think there's an option (can't remember, sorry) so all (not just a bank of 12) the faders become the EQ for quick changes which I needed to get at a few times. In conclusion: The SD8 is the most 'complete' and comprehensive console I've used to date. It does more than anything I own by a long shot, it's more capable than an LS9 or Qu or Expression and amazingly, it's very friendly to use which was the big shocker for me, especially considering the high channel count and amount of swap overs during the show. It's a premium console and as such costs but it's a stunning bit of gear that works very well indeed. The only thing I can't judge is it's sonic quality as I used an L'acoustics ARCS system run with Lab Gruppen amps and an Ashly Protea system controller and while I have used these before, I'm not familiar enough with them to make a comparison. L'acoustics sound great tho!

IN: Squier VM Jazz Bass OUT: Nothing GAS? Kinda fancy a V-Type all valve head but I know I don't need one.. What I've learned? I can't live without a Jazz Bass of some description..

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Ha, brilliant! [url="http://www.aronline.co.uk/blogs/facts-and-figures/essays/essays-the-500-series-diesel-leyland-loses-its-head/"]http://www.aronline.co.uk/blogs/facts-and-figures/essays/essays-the-500-series-diesel-leyland-loses-its-head/[/url]

Anyone got any or using them? They seem to be all over Sound on Sound mag and there's plenty of 2nd hand ones on eBay although the actual rack seems expensive.. Quite fancy an SSL 611EQ, a couple of the Radial engineering models and any number of the esoteric valve based pre-amps and compressors.. Any thoughts? Oh, the Leyland 500 series reference was a high-speed 6 cylinder 8.3 litre diesel engine developed in the 1960s. It featured non-removable cylinder heads, an overhead camshaft, turbocharging and direct injection and was pretty much responsible for destroying their reputation during the '70s.. Shame as it was very advanced and forward thinking for the time but was under developed and it's issues were never resolved.

Well, I've done a few shows on the 02R and they've largely gone without drama or upset.. Navigation as previously mentioned is a bit of an issue in a live envinronment but much like the LS9, the three green EQ knobs are handy quick 'hands on' as are the sends on faders for the auxes. More arkwardly, the controls for the dynamics facilities are somewhat buried especially if you're anywhere other than the dynamics screen on the console but even then it's a bit of a faff with the navigation keys. The routing is potentially complex too, however for live use I simply routed 1-16 to 1-16 to L/R and routed the direct outs to the two ADAT cards without worrying about busses 1-8 for the AES / EBU card. There's all sorts of crazy options for routing! I setup a mute group for my FX returns which was easy enough and handy too (sadly something my beloved Soundcrafts don't have) rather than muting them individually. There's options for fader groups too although using the small amount channels (I average 14 or so), there's not much point although in retrospect, I suppose could use a group for the toms. On another positive note, output levels are very healthy indeed with -18dBFS truly being a decent 0dB reference on L/R and all aux outs. As mentioned above, my 328s seem to need bit more welly (-10 or so) to acheive the same. I've decided that I will keep the 02R as post-production and editing desk for my recordings rather than a live desk. It will do the job well (it's what it was really designed for) as I can route my outs from Protools to the ADAT outs on the MOTU and mix it on the console using it's tape ins (1-16 then flip bank to use faders rather than knobs) and then return it either on the AES / EBU, S/PDIF or analogue back into the MOTU. If I want of course, I can just mix in Protools but its nice to have the option! I haven't tried it that configuration yet as space is a limitation as is the 20 bit word length on the ADATs but at 48K sample rate, there's more than enough resolution to my ears. I read a number of reviews about the questionable sound quality of the 02R but frankly, it sounds just fine to me. It doesn't sound exceptional and it doesn't have the 'super smooth' thing the 328XD has (nor does my standard 328) but it does sound on a par with the analogue GL series Allen & Heath so as a reference, I'm sure it'll do fine. To put it simply, the 328 and XD are much better to use as live desks owing to their quick navigation so they haven't been trumped by the 02R but it will be useful for it's purpose and if I get mad with it, I'll move it on.. I did a job for Bullet Sound at the Victoria Hall last week and had to get my head round something rather more advanced than any of my 'vintage' digital consoles... Digico SD8: Brilliant and terrifying especially with 47 Channels on the go..! [url="http://s778.photobucket.com/user/VTypeV4/media/DSC_0034_zpsuvgfaevi.jpg.html"][/url] [url="http://s778.photobucket.com/user/VTypeV4/media/DSC_0033_zpsfayooaqa.jpg.html"][/url] I'll talk about this another time.

The bass in all it's glory next to the Mex P-Bass we had painted both leaning against the manky Peavey TNT at Greg's studio.. Not a Trace Elliot, Ashton or Warwick in sight! [url="http://s778.photobucket.com/user/VTypeV4/media/DSC_0027_zpsrpcxyysn.jpg.html"][/url] Sounds great, almost like an old Jazz bass..

Just a couple of pre gig and pre sound check shots.. [URL=http://s778.photobucket.com/user/VTypeV4/media/FullSizeRenderB_zpsc2ef0e9e.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/FullSizeRenderB_zpsc2ef0e9e.jpg[/IMG][/URL] Warwick, Ashton, Squier and other instruments on stage.. [URL=http://s778.photobucket.com/user/VTypeV4/media/FullSizeRender1_zps0db16b4b.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/FullSizeRender1_zps0db16b4b.jpg[/IMG][/URL]

Years ago I sort of had a version of your setup.. I had a 12 band 300w head, the 2103H (2x10) and an 1153 (1x15) which was a great modular and flexible system with plenty of power and volume on tap. I later changed to a 600w head and sold the 2103H to buy a 1048H (4x10) which I felt I could have ruled the world with! Enjoy, I'm sure you'll love it.

I am indeed.. Cheers man, pop in, it'd be good to see you if you're the tom I think you are.. Ha!

[quote name='spectoremg' timestamp='1419228089' post='2637716'] It'll have an extension speaker socket on the back which will give you massive GAS! [/quote] Get an 1153 under there and you'll be cooking on gas!

We're at The Rigger on Christmas eve! We have about half an hour set, the Warwick is re-strung and waxed, the Ashton has been bias checked and I'm excited to play! If anyone could make it, it would be great to put some names to faces.

I haven't listened to the links however I know I can't tell the difference at 320K, I can't tell at anything above192K to be honest.. With regards to '80s production, there's not much wrong with 'Running in the Family' last time I listened..

Alex James is a hero. As a 15 year old in 1998, Alex along with Alonza Bevan (Kula Shaker) were my influence at the time and helped me shape my style. (Until I found Fyffe, Clarke, Miller, Zender etc of course) They are two players who I think are both very talented, unique and somewhat under-appreciated and whom today I still have massive respect for today.

Glad you got it sorted! As for in the input level, I found it normal to run the gain between 5 and 7 to get the yellow lit although I had to run it even higher with my old RockBass Streamer. Remember it's also proportional to the boost / cut on the EQ too so if you have a lot 'chopped out' on the graphic then it will need to be turned up more. Double check the graphic level knob is turned up most of the way too as this will affect it also.. Good luck!

No new pix of mine but its had a double wax and a set of new strings today.. Sounds immense!

Very interesting..

Never had a 350 but its virtually the same as a 400 and I did have one of those.. Best SS / Hybrid amp I ever owned. Can't beat that UV, keep it lit!

If it's the graphic and pre-shape in / out (with accompanying LED indicator) then it's 'momentary' switches that don't click like the active / passive or pre-shape 1 / 2 buttons so there may well be nothing wrong.. If the LED lights and you can hear a change in sound then it's working fine..

I asked whether the current Ashdown CTM series were a hark back to the Trace V-Type series and was told they were a totally new design. The pre-amp loooked very similar in terms of controls but aparently they were developed in partnership with the chaps over at Matamp..

Fair point..

I was unaware of the Turbo / Behringer connection.. Very interesting indeed.. Turbo always used lots of Fane and Precision Devices components so maybe one of those had a hand in with the speaker side of things? Or maybe Turbo simply desiigned the cab. Who knows.

Line out: Typically an unbalanced line level (not speaker / amplifier level) full range output on quarter inch jack. It's output level may be determined by a separate control or possibly in conjunction with your master volume. Use it to connect to other amplifiers or a mixer if an XLR connection is not available. Send: Usually accompanied by a 'Return' jack socket which forms the other half of your FX loop. These are usually in series and interupt the signal through your amp. Modulation effects like chorus or phase are best placed here whereas overdrive / distortion are better before the amp. Sub Out: A 'low pass' or 'high cut' output (ie not full range) for dedicated low frequency amplifier and speaker combinations. It may be paired with a frequency knob to control the upper bandwidth of it's output. Typically I'd expect a dedicated sub out to work at around 100hz downwards. This is probably on a jack although it's possible it's on an XLR connection. DI Out: DI stands for 'Direct Injection' and is normally a balanced full range output on a 3-pin XLR connector for connecting the pre-amp (tone shaping, compressor etc) into a mixing console for live sound or recording purposes. It's output is usually determined by your input gain settings although it may have an independant output level. Hope that helps.

Did anyone else clock the 'Turbosound' badge on the cab..? I would like to think it's of some significance.. I've used a number of Turbo PA rigs and have to say they were pretty tasty..