tauzero

I know that I can find the white extensions when I pack up. I also tuck them away behind my amp so they're not that visible. I can also write on them with non-special permanent marker to identify them. The big reel extension cable is black.

I've got orange for XLR to TRS (Behringer mixer to previous active speakers) and green for TRS to XLR (monitor out to active monitor). And incidentally, I always finds it helps to remember that the pins point the way that the signal's going. And as I want a slightly shorter mic lead, I'm going purple this time.

There's four or five songs in our set that I possess and voluntarily listen to. The rest I'm indifferent to in listening terms. However, I do enjoy playing most of them, and the ones I'm not keen on still get the audience up and dancing, and that's enjoyable too. There is one red, red line though. Early UB40 - fine. The later utter dross - no way.

Their version of "Africa" by Toto is brilliant.

I separated from one band (band A) recently. The guitarist/vocalist hadn't got his own PA and I supplied it. I'd got two, one a pair of Behringer B210Ds and the other a pair of RCF ART 710s. I used the Behringers at a gig with another band (band B) and they started playing up. I'd forgotten about that as it had been so long since the last gig, and then a gig came up with band A at a venue I didn't really want to play at due to the load in and out and my deteriorating back, and definitely didn't want to take the RCFs to as light though they are, they're still rather heavy for me now. So I told guitarist that the PA was blown up and I wouldn't be replacing it (this was two or three weeks before the gig, not completely last minute). At that point, he decided that the way I was playing didn't suit what he wanted played and thought it was best if we split up. Well, we'd had some good times but I was a bit fed up of being sole sound man so I agreed. Amicable split. However, on the original subject, all my leads have velcro ties so I know which are mine, and the rest of the band know which theirs are, so there's never any problem on that front. It's pretty minimal for me anyway - one jack-jack cabletied to a 9V power lead to run from the amp to whatever pedalboard I have (meaning that the power adaptor is plugged in next to the amp rather than on stage), one XLR for the mic, one XLR-jack to run from the PA (percussionist supplies that) to the monitor that I supply, two mains leads (lights and amp).

Just getting round to doing some patches on the B3n and revisited this thread. One observation I'll make on questions from a few months ago - it's quite possible that the B3n and B1-4 have the same chipset but the B1-4 has been downgraded somewhat in its capability. Using the same chipset gives Zoom advantages in volume purchasing, and having the B1-4 not quite as capable as the B3n gives the B1-4 buyer a possible upgrade path that allows them to remain with Zoom.

How many strings do you want? And you might want to check the scale length if it's likely to affect you, I suspect that the Ibanez is 889mm/35" not 864.

Played a gig with this on Saturday. Pub gig, three-piece, guitar/vox, keys, bass. Used an Ikea laptop shelf to tilt the amp back (being a combo, I don't have to worry about Ann Boleyn syndrome). Clear sound, would have overwhelmed the PA if I'd turned it up to more than 2 on the output. Must have another play at home as I think the input is more sensitive than the Tecamp Puma that it replaces, and it might have been just moving into clipping. Mrs Zero approved, which is the key point.

I was considering FRFR. Most of my gigs are with the bass amp used for FOH and a vocal/keys/acoustic guitar PA. However, my back is deteriorating, and none of the FRFRs were anything like as light as I wanted, so I've now got a 9.5kg 500W combo (could go to 800W with an extension). One person's one-handed lift is another person's sack truck. Plus who's going to buy/store/transport the PA if it's only me that would need it upgraded from the current one? If other people want to use FRFRs and go through the PA, that's fine by me. However, it does not match my needs, so I won't be.

Somebody else suggested this a while ago: https://www.ikea.com/gb/en/p/braeda-laptop-support-black-60150176/ Just found the original post: https://www.basschat.co.uk/topic/447365-markbass-mini-cmd121p-or-fender-rumble-500-help/?do=findComment&comment=4412701 I bought one, never got round to using it till last night with my nice new GR Bass AT Cube 800 combo. Despite being right on top of the combo, I could hear it well - better than when I'd been in a similar position using a BB2 and Puma 900 (the fact I hadn't sorted out anything to stop the head sliding off was the reason I never tried it out earlier). Note that I used this with a 9.5kg combo, and the original suggester was using it with a Markbass CMD121P (11.9kg), so I'm not sure how well it would cope with a Trace Elliot at ten times that weight.

Lots 301 and 302 (page 7) astounded me with the price they fetched. The same things are going for £10-£20 on That Ebay.

I wouldn't fancy playing that sitting down.

Is this British Imperialistic Running-dog inches, or American Capitalist Lackey inches? Please re-pose the question, using units which are in use in 98% of the countries in the United Nations.

Variax.

How many points do you get for reading one of Hellzero's "In praise of tonewoods" posts?

And burgers.

I made my feelings about Red Red F*cking Whine known very early on in my membership of the band. And Dreadlock Holiday.

You just have to remember to charge it up. Which I never do.

An old friend of mine does open mics, and his wedding reception involved a number of open mic participants plus us (who assembled from assorted open mics ourselves). We do "Purple Rain", and the keyboardist takes over for the "oooh oooh oooh" outro vocals. Except this time, when an open mic lady came excitedly up and said "I know this", then launched into what I can only describe as caterwauling - in fact, I've never heard anything for which the word "caterwaul" was so accurately fitted. At one pub venue, we got the macho man thing - someone built like a brick outhouse standing straight in front of the singer as close as he could and scowling at him. Now I'm 175cm tall (that's three inches short of a fathom for those of you that can't cope with the 20th century) and I make the rest of the band look like hobbits, so you can imagine that on a floor-level stage area, that was a bit intimidating for him. Macho man subsequently went over to the table that the percussionist's other half was at and leant on it, scowling at her. Fortunately he got bundled out by the bar staff, so nothing untoward eventuated. Pub got crossed off the list of pubs that we would ever play at again.

It hasn't (yet) affected any gigs for me, but yesterday rehearsal got cancelled as two members couldn't make it due to lack of petrol. Mrs Zero's car needed filling up and she was going to do it Saturday morning, but after seeing all the issues, I offered to fill it up in the middle of the night at our local 24 hour Asda. Got there just as a tanker was leaving, which I thought was a good sign. When I got in, there were about 20 cars queueing for the four pumps (out of 12) that were working. Cars continued to arrive as I filled up, so there were still about 20 in the queue at 1 in the morning. At least I've got some fuel in my car, half a tank in one of the bikes, and I don't commute any more.

Nice detail using tort for the battery box cover.

Argument. CD sounds better.

Or a Studiodeck, in which case they've trebled the price.

I think it's transparent, but I'm not sure how good my ears are. I didn't A/B it with the BB2 but my impression is that it is a little cleaner sounding. I chose the 800 over the 500 because, although at the moment my requirements mean I don't need the extra power, I have the option of putting an extension cab on should things change in the future.