lozkerr

Honey, by Bobby Goldsboro as they all file in looking po-faced while secretly thinking they're glad the beach is dead. Then Highway To Hell as the curtains close behind my coffin.

I suspect I am sailing very close to the wind indeed - I've bought video recording gear, a couple of mixers and some lighting gear. And I'm also intending to relieve @la bam of his PA when I can travel to pick it up. Nothing for my signal chain between bass and mixer though (unless you count a replacement for a dead amp), but it may only be a matter of time...

I saw them at the Usher Hall here in Edinburgh back in December. It was a fabulous gig - I hope you get the chance to see them after lockdown's lifted.

That bothers me too. I was all set to hop over to the Netherlands to see Ellen Foley when lockdown put the kybosh on my plans. She's currently holed up in the sticks away from New York, and I hope she comes through it OK, but she's pushing seventy now and living in der Trump Reich. If she succumbs to C19, I really will have it in for Herr Tweetler.

FTFY.

Thanks again, everyone. I've decided to snap up @la bam's gear when I can drive to pick it up, unless he shifts it locally in the meantime. There's obviously a lot to work through here, and I can see that we might end up with more than one PA. I'm trying to get as fully tooled-up as possible during the lockdown, so we can hit the ground running when things start up again. Regarding monitoring, I'm liking the idea of splitter cables - one for the FoH PA and another for whatever monitoring system we end up with. I find IEMs work well, as does our front man, but we haven't gone into it in depth as a band. If the others want foldbacks though, I won't stop them buying them 😉

Could you ping me the full spec? Many thanks.

Wow. Thank you very much, everyone! Lots there to think about. @lurksalot, I think you're right about kit coming up for sale - that's why I'm looking now. Plus, I do have a bit of spare cash what with not having to travel dahn sarf every other week. I don't doubt that any PA I buy will be sitting in store for some time to come, but at least we'll have it to hand when things start up again. @Dad3353, the mixer I have is a Peavey PV20 - sixteen mono channels, two stereo aux, two monitor sends and a control room feed. I'm thinking of using the control room feed as the primary audio source for video recording, which would leave two monitor mixes. We haven't really dug into the monitor side of things yet - the front man and I use IEMs but the others generally run with what's available. I'm thinking that IEMs all round would cut down on the gear we need to lug about, so some gentle persuasion may be in order 😊 Our lineup is drums, bass, keys / vox, lead vox and two guitarists. The guitarists have a mix of electric and acoustic; there's even a mandolin lurking in the lead guitarist's armoury. He might have to adapt a wee bit, and stop getting narky when I call him Andy Anderton 😊 @Happy Jack, agreed - I don't think we'd want to lose the backline in any event. We all have DI, so we could vary what went through the PA depending on venue size and acoustics. The main thing I'm aiming for is to get a PA that will cope with most venues that a covers band will be playing. One thing about subs - ISTM that they'd provide a fairly stable base if my idea of attaching lighting bars to the tops was workable. Some LED par cans for the stage plus a few fancy effects for the dance floor shouldn't make the rig top-heavy - they're a far cry from the filament-powered monsters I cut my teeth on way back when. And @itu - oh yes, I can relate to needing cables, more cables and spares. I'm thinking about putting together a sort of standard setup, with cables bundled together, a la Socapex. Maybe make some shorter extensions, with colour-coded connectors. And, of course, have spares. All labelled. Back in the day, I did some voluntary work at a local theatre. The resident tech had had problems with cables going walkies, so he switched to orange instead of black. The thefts miraculously stopped. So ISTM that a PA with about 1300 watts a side would cover most eventualities. Good points about budget, but TBH I'd rather stretch myself a little than buy something that isn't up to the job. I'm thinking a figure of one-and-a-half to two grand second-hand all-in - obviously I appreciate that new kit will cost more. As for transport - well, my own car is a Defender 90 that only just holds my bass rig, so I suspect I'll need to shell out for a tow bar and box trailer, if I can find somewhere to store it. Edinburgh clowncil gets narky about keeping trailers on the road in controlled-parking areas, the peasants. Thank you all so much. I really appreciate the advice. Stay safe, everyone.

Hi everyone, I'm in the fortunate position of being able to work from home, which means that the money that would normally go on train tickets and grotty Travelodges can be put to more productive use. I'm starting to look at PA systems, and I'd be grateful for da BC massif's thoughts on wattage, innit. I already have a 16 channel passive mixer, so I guess it'll be either powered speakers or passive speakers plus power amp. I'm wondering how much power would be right for small to medium-sized venues and thinking it would be better to have too much oomph than not enough, although a full Knebworth would be completely OTT for the Dog and Duck and I would expect a dedicated music venue to have a house PA anyway. But something that's under-powered for a six-piece rock band would just be a waste of money. So I guess the question is - if you have your own PA, how much power does it crank out, and is it enough for your needs? All thoughts and advice gratefully received. Many thanks, Laura

We've been trying JamKazam, but apart from the pi5s-poor UI design and the app's fondness for quitting unexpectedly, lag is a big problem. It has a knock-on effect too - our rhythm guitarist played me a backing track, I added the bass and the lead guitarist joined in. When we played back the recording, both I and the lead guitarist were at least two bars ahead. And that was in spite of our both compensating for the frequent drop-outs. We're going to keep trying, but I suspect JK will only be good for slowly working through tricky bits without everyone having high-speed and low-contention connections.

I gave in to GAS when my Eden Metro conked out during our last gig: Friday 13th: amp dies. Saturday and Sunday: sulk and think about getting it fixed. Monday and Tuesday: browse Eden gear online. Not much more than small combos to be had. Wednesday: go in to local Marshall dealer and ask about Eden availibility. All they have on 'the system' are small combos, so they'll have to ask their purchasing department. Sunday: phone call from dealer with price. I fork out for a new WTP600. Monday: lockdown announced, all gigs cancelled. Impeccable timing as ever 😩

Welcome, Dawn! Always good to see another lady on here!

Aye, that's her. Fabulous player.

They're perfect for the sweet innocent girl-next-door types too.

I see your gig bag and raise you a new Eden WTP600. Ordered the day after all the gigs we had pencilled in were cancelled 🙄

Have to agree. He does seem too far up himself, but Piers Morgan is way ahead in the punchability stakes. If we must lamp an Irish muso, there's aye Bonio. I'm fully expecting his charity single Ventilation to start polluting tinterwebz any day now.

Town Called Malice for me. Keeping time's OK but keeping the staccato constant through the riff is another matter. Lockdown should keep me busy trying to nail it properly, though.

Oo, my Jazz has the same plate on it. Who's up for a wee jam? All together now - a one, a two, a three, a four.. Ooh, the virus isn't fun, isn't fun When you gonna make me real ill, Corona? Ooh, you make my bottom run, bottom run Gonna come in for the kill, Corona

Aye, I know exactly what you mean. I was raging and almost crying in equal measure when it conked out. The combination of Metro plus 118 extension cab gave me a sound I really love, and I'm hoping - hoping - that the WTP600 will be a near-enough direct replacement. It's only single channel, but being able to turn the valves off should give similar flexibility to the Metro's twin channels. The Bass Gallery have a Metro for sale that looks like it's had a much easier life than my old workhorse and I was very tempted to snap it up, but it's still a few years old. They're wanting £650 for it, which seems quite reasonable, but for £350 more I can have a spanking new amp with warranty, and I can still use the Metro as a 210 cab.

That's what I've gone for. WTP600 head is on the way!

First gig for our six-piece 80s covers band last night. It was a fundraising night at Edinburgh College in Granton. We went down a storm, in spite of my backline playing up. Lots of people dancing and enjoying themselves. It was livestreamed to YouTube too. All in all, a great start for the band. I'm looking forward to our next one!

Apologies for resurrecting a long-dormant thread, but I'd like to call on da Basschat massif, innit. Last night, my Eden Metro started cutting out during a gig. The sound went completely, and though it came back intermittently, I ended up using DI into the PA. I'm now pondering the options, as the combo is now over 20 years old and it hasn't had the easiest of lives. Should I a) Get it checked by a technician and hopefully fixed, but knowing that something else could conk out next time, or b) Get it fully refurbished, which would likely be far more expensive than option a), or c) Remove the amp, fit jack and Speakon sockets to the back, thereby transforming it into a 210 cab and buy a new head? I'm inclining towards c) at the moment, so I'd be most grateful for any advice on which option would give the most reliable rig. Many thanks.