Jump to content
Why become a member? ×

Happy Jack

⭐Supporting Member⭐
  • Posts

    14,801
  • Joined

  • Last visited

  • Days Won

    22

Everything posted by Happy Jack

  1. The first no-fee deal on eBay for ages starts this weekend, so I'm finally listing this there. Giving it a bump, plus some extra info, just in case. In brief, the AFS2 has the ability to detect when feedback begins to occur at any particular frequency, and will insert a sharp notch filter into the signal path at that frequency. As with most devices of this type, it works by assigning either ‘fixed’ filters, which are determined and applied during the setting–up process and remain in place until manually reset, or ‘live’ filters, which are applied automatically during the performance if feedback is detected, without any action necessary on the user’s part. 2-Channel Digital Anti-Feedback Processor Enormously fast suppression of feedback 2 Operating modes Fixed mode with storable filters and presets Live mode for real-time analysis and editing over the complete frequency spectrum Extremely narrow notch filters (up to 1/80 of an octave) for differentiated intervention 24 Programmable filters per channel LED chain for all 24 filters per channel LCD Display Easy setup XLR & Jack input and output per channel USB Port for firmware updates Internal power supply Format: 19 "/ 1 HU
  2. Welcome aboard, Richard. At £10 you should be able to get your money back just by selling the control knobs. In terms of paying someone to get it working, a beat-up combo can easily become a money pit. Don't go down that road unless you have someone you trust who will give you an honest assessment before you get started.
  3. The first no-fee deal on eBay for ages starts this weekend, so I'm finally listing this there. Giving it a bump, plus some extra info, just in case. The MX200 features the classic Lexicon reverb sound as well as providing additional effects (32 effect types in all), where two effects can run at the same time under one of four routing options. These may be accessed through very simple front-panel controls or using the MX-Edit editor/librarian software that works within VST or Audio Unit hosts. This way the MX200 is seen by the host software as a plug-in, even though it is really externally connected hardware. General Specifications Audio Inputs (2) 1/4” TRS balanced or unbalanced Input Impedance 20K Ohms (balanced), 10K Ohms (unbalanced) Input Level +4dBu Nominal, +20dBu Maximum Frequency Response 20 Hz - 20kHz, ref. 1kHz +/- 1dB THD+N <.007% 20Hz - 20kHz Audio Outputs (2) 1⁄4” TRS balanced or unbalanced Output Level +20dBu Maximum Dynamic Range >107dB A-weighted A/D Converters 24-bit, 48kHz Audio Processor 24-bit Software WinXP/Mac OSX VST GUI Interface Crosstalk > 80dB Size 1 RU Dimensions Width 19 in (48.26 cm) Height 1.75 in (4.4 cm) Depth 4.75 in (12.065 cm)
  4. Just noticed that no one seems to have answered this. The Phones Out gives a stereo FoH mix with an independent (physical) volume knob as the only real 'control'. I use a stereo jack to 2xmono jack cable to run that output to the XLR inputs on my Zoom H4. That gives me a flawless recording of the band at every gig, while placing the H4 close to the drum kit allows the X/Y mic capsule to record (mainly) that kit, which allows for the fact that the kit will usually be recorded pretty low in the mix from the X18.
  5. Complete & working, including power supply and polarity converter. No surprises, you kniw what it is, you know what it does. Bit of velcro on the bottom to anchor the (lightweight) receiver unit.
  6. The new REMIC D5401 Studio/Live model has been designed with different measures to fit the upright concerto bass used in orchestras and classical ensembles. The upright concerto bass is typically constructed to have more space between fingerboard and body of the instrument, which requires a REMIC microphone which is slightly taller than the D5400. For studio & live performance of chamber, classical, jazz and folk music. Superior gain before feedback. Moderate suppression of neighbor instruments and ambient noise. For moderate amplification of symphony orchestras, ensembles, bands and soloists.
  7. The SubZero SZ-IM2 Stereo In Ear Monitoring System is an easy to use system. Once plugged in the system allows for IR connection, simply hold the receiver near the transmitter and connect with the press of a button. The ability to select multiple frequencies ensures clashes aren't a problem, whilst the clear LCD display provides detailed information about your unit at a glance, which is useful when using multiple systems. Multiple receivers can be used from one transmitter if your ensemble is happy to share a mix. The included belt clip means attaching to garments is easy. System · Channels: 20 (1 groups of 20 channels) · Frequency Range: 863-865MHz · Transmission method: FM, stereo · Frequency response: 30 - 18,000 Hz +3dB · Operating range: 50m · S/N ratio: >85dB · Included accessories: Power supply, 3.5mm TRS minijack to 2x 1/4" TS jack Receiver · Audio output: 3.5mm TRS jack · Indicators: RF (LED) · Operating time: >10 Hours (battery dependent) · Controls: Volume, channel select, sync · Operating voltage: 2x 1.5V AA · Dimensions: 63mm(w) x 127mm(h) x 20mm(d) (excluding clip) · Weight: 96g Transmitter · Signal-to-noise ratio: >85dB · Frequency range: 863-865MHz · Inputs: 4 · Input connectors: 2x combi XLR/TRS Jack, 2x TRS jack I/O · Antenna connector: BNC · Controls: Output level, input level, -12dB pad switch · Operating voltage: DC 12V · Dimensions: 210mm(w) x 53mm(h) x 178mm(d) · Weight:96g
  8. Torn between the 1720s (Bach) and the 1780s (Mozart). I'll get back to you.
  9. As it happens, @Silvia Bluejay is in Italy right now. Unfortunately she's in Florence and this bass is in a suburb of Naples ... not gonna happen.
  10. A quick check on Reverb immediately brings up a 1958 guitar for £8.2k and a 1962 guitar for £7.7k. Know your market. 🤑 My complaint would be that, for a £4k listing, there's ridiculously little information there. Granted, any serious collector will already know the websites to check and won't ask silly questions like "what does it weigh" and "what's the string spacing at the bridge", but by not bothering to supply any information - not even the date of manufacture 😨 - the vendor is doing himself no favours. As to buying it, my guess would be that it's a right bugger to play, weighs a (metric) ton, and offers very little tonally. But it's cool as f***, will only go up in value, and I'd certainly consider buying it as an investment to hang on the wall.
  11. Exactly the same, buut using a set of EADGC flatwound uke-strings.
  12. Do you actually find much difference between the pickups with the '61 configuration?
  13. IIRC one of the factors that steered him towards the 500/1 was that (while he was in Germany) the Hofner was WAY cheaper than the very expensive imported and highly-taxed Rickenbackers that John and George bought. He liked the Hofner because he didn't want to have to use HP and get into debt.
  14. I use a big Gator semi-rigid jobbie that I originally bought for my Mike Lull T5. A bit bulky, but deffo does the job.
  15. ... the music lives on, regardless. That was pretty much the point, wasn't it?
  16. Well the Sharpie was invented in 1964. Just saying ...
  17. Is it just me, or does the '10' in '1810' have a different feel about it?
  18. Do you wear heavy rings or bracelets when slapping?
  19. I wasn't aware that my Elf even had a fan! It's totally silent in operation. As to headroom, any venue large enough that your backline runs out of headtroom from an Elf is a venue where you'd have PA support anyway.
  20. Srsly? I do 50 gigs a year with a rock'n'roll band and my pre-owned (small-bodied) Kolstein Busetto after three years looks nothing like as bad as yours. 🧐 I know very little about this make, and all I could find online related to someone called Dub on Basschat (in East Fife) selling his 10 years ago. To you, I imagine? What do you imagine this bass would be worth if in pristine condition? It looks to me like the only way to stabilise the condition of that bass would be a complete refin with a much stronger lacquer / varnish being used, especially on the edges. Best bet would be that the refin might cost more than the value of the bass, certainly more than the value it would add back to the bass. Looking at the damage, it looks like a worse example of the damage I have done to 3/4 and 4/4 basses when laying them down quickly on the stage as I switch to electric bass mid-set. That doesn't happen with the Kolstein because it's too shallow to lay on its side. Do you have any idea just how that damage was actually done?
  21. Nah ... Not in the market for anything other than a reasonably-priced 320, and my Chass Collection probably ticks that box anyway.
  22. I picked up a bass for the first time on my 49th birthday so yes, I guess I have improved since I was 50.
×
×
  • Create New...