Monckyman

Allen & Heath MixWizard.

I can heartily recommend Ben at Beej guitars. I've worked with Ben on many tours across Europe and the UK with him in his capacity as Guitar and bass tech and he has a wonderful and comprehensive workshop in Leeds that offers all levels of work from new nuts to new paint jobs. http://www.beejguitarrepairs.co.uk/Home.html

[quote name='hiram.k.hackenbacker' timestamp='1366675696' post='2055932'] I've just been informed that I will be wearing some decade appropriate specs when I dep for an 80's band at the weekend. They will have clear glass (hopefully) but I have no idea how I'm going to get on playing wearing them! [/quote] Pics needed for accurate assessment of indignity!

Both myself and the guitarist need glasses to see. I can play fine without them but I can't see the information on the digi desk window so.. Thanks to Stingray Pete we both acquired Wedgees and the dreaded noseslip is a thing of the past. It was good enough for Holly and Costello.

The best stuff I've found is the slab stuff, as you can cut it cleanly and wedge it between your stud work. There used to be lots of bogof offers on insulation but they all seem to have stopped at the mo,maybe next autumn.. Have a look on eBay,there are quite a few slight seconds and unused stock traders offering good prices, but its all about the delivery charge so see if you can go local. As to alternatives,perhaps some of the sheeps wool stuff would be as effective as rock wool, not sure about the rubber chip insulation. The foam insulation boards like Kingspan etc offer no sound attenuation at all. You might also explore the practicalities of using two layers of soundboard slightly overlapped so the joins are staggered. My cheapest quote (in Manchester) for accoustic plasterboard is £7.00 a board, so app £100 for that extra layer. I'm currently installing a control room area in my rehearsal space and am using this method, though I don't think there is a way around the rock wool. Good luck!

All I have to say is Yoko Ono.

Agreed, not an issue.

You must beat your singer with an old mic cable quite hard until he promises never to lie to you about amps again.

"Original buyer let me down" Found his specs then did he? Nearly lost me lunch.

Good article that. I've been using an aux to feed our subs for a bit and at first I didn't like the extra thought and work involved, also losing an aux. But it really does clean everything up, let's you use those HPF less dramatically and allows separate EQing and treatment of the subs output. For my lot, a wedding /party band, it's the kick and the bass that get sent and that's it. Sounds a bit of a waste doesn't it? But it's really handy being able to wind in that low end excitement if the floor fills up and people want to dance. If you do try this, just remember you need a POST fade aux setting so the sub signal goes up or down relative to your main foh signal.

I just secured some black scrim for cover ups etc. Nothing wrong in taking a bit of pride in the stage,compared to some death traps some bands play on. With my lot, it's me and the drummer(who has a lot of theatre experience) who like to dress the stage. The others are blissfully unaware of this universe and all that lies in it.

Get that to MDP at Cleartone Phillips (very)Ltd. They could make a terrible 6 string guitar for Navvys out of that no problem. Prob add a hotrail banjo pickup in the headstock for that gnats cock of edge and mismatch the knobs for that asymmetric avant look. Do it.

Yep,mine are a nightmare too. I just got the singer to stop chaining 4 way mains across the front of the stage. We use no power at the front of the stage.. Also, he rolls the cables around the plugboard which results in huge white pigtails of cable. I have threatened to maim him and he has stopped, but he still puts out far too many plug boards for our needs and I go round later removing them. Might I suggest a couple of stage snakes to minimise cross stage xlr madness? Thommann do a 6 way 10metre xlr for about £30 delivered,no postage on the second one if you get two. I'm using them to replace my far too big 24 way stage box and intend to put one at the rear of the stage and one in front of the centre wedge. If you have active wedges you can send your aux out with a chan on the box if you use a sex change adaptor. Yes I'm very anal about cables..

Steve, may sound daunting, but if you record the rehearsal with every song you're not sure about, then you can rehearse more at home and nail the intros etc. It will be a good experience and may lead to more paying work. Go for it.

Yes, if you are a regular dep, you will have those skills, so £100 is very cheap. If you are not a regular dep and aren't set up for it, you will need a rehearsal at least. We have used a dep keyboard player a couple of times. We paid him £20 less than an equal split, because deps don't pay for rent or fuel or the PA etc. Was still a good wage.

Yes, just swap the tweeters, if the prob remains its the internal x over or the wiring attached to it.

Yep to another 12. Fairly essential to ask the band if you have PA support meaning your bass will be D.Id into the main PA.

[quote name='icastle' timestamp='1365812377' post='2044962'] The trick is to keep the cable runs as short as is practically possible. I always play safe with our PA. We have 5m and 10m Speakon cables and just select the one's most suitable. We also have some Speakon couplers so we can join cables together if we need to. [/quote] This. You can reasonably assume most setups will be 4 metres average from stack to stack, plus 3 metres depth of stage area x2 so a good working length would be 10 metres for the stack furthest from the amp rack and a couple of 5 metres and some couplers would take care of the near stack and an extension for problem gigs. A spare is always good to carry! I really like to properly route as many cables behind the stage as possible to prevent all sorts of accidents and unsightly cable runs, but if really needed to,a straight run across the monitor line would be fine if properly taped down.

Minimum £100 You are after all spending two nights with the band and no doubt a good amount of time studying any tunes you don't know.

Check out Stardes in Sheffield also for splitters etc. http://www.stardes.co.uk/self_drive.html

As above,but remember you can also attenuate the level to the amps from the crossover also. So in effect you can calibrate your optimum desk output and send as much of that as you like to the amps by increasing or decreasing the output at the crossover and run the amps on full. Remember that you will probably want different levels for your tops, as compared to your subs, and the crossover is where you can do this. As to what balance, that's up to your ears and the venue but the crossover makes it easier to adjust. HTH MM

I reckon he was stricken by grief after splashing all his cash on the rick instead of that natural fender p he really wanted and so...