bertbass

You could use mic splitters, this would give you 2 outputs from each mic. 1 output of each mic to the main desk and the other to your monitors. You could use just a y-cable to a load of these, http://www.studiospares.com/splitter-combiners/studiospares-red506-microphone-splitter/invt/458250/?htxt=%2FUvRjc0xAaKk26JwgsxcsV6E2gjpK53ITJCPcypNRrR6jhjYX3SDlEUFWaOdTpLU0xVcTayKYYOc%0Aw4t9gBa9qg%3D%3D, or even some of these, http://www.behringer.com/en/Products/MX882.aspx.

I used a pair of matching Sound City 4x12s with the Sound city 200 head I had in the early 70s.

I'm impressed, I wonder what his playing's like in the bedroom?

+1 for a great suggestion.

Baredfaced 69er.

That must be the WMC where most of the audience leave after the bingo leaving you playing to the 25 audience that actually want to see the band. Know it well.

I'd love one too if they were long scale, easily converted to left handed.

Saw a red Jaguar with white scratch plate on TV once, beautiful and a great sound, try getting a left handed on though.

Always carry 2 stands with me main bass and spare and always make sure there's enough room for them.

That is a seriously interesting video.

I disagree!

He wasn't a drummer in a former life was he?

Hi Joel, I'd love to see reviews of old gear, amps, speakers, etc., that have stood the test of time compared with new 'Super' gear. I bet there would be a few surprises. After the pile of sh*t I paid £220 in 1972 that went under the guise of a Fender Precision, I proudly fly the 'No Fender Here' flag as well.

You're so vain, Carly Simon. Flames, Elmer Gantry's Velvet Opera.

You're not alone.

E

Only too glad to help.

I'm now 60 and I'm not at that age yet. For me it's the sound that's important.

I use the MG206C, the same but without the digital F/X. I use AUX 1 for the drummers foldback and AUX 2 for the guitarists and my foldback, both pre-eq. AUX 3 is for the F/X send which I feed back through a normal channel, Works very well. You'd use the sub groups for things like a drum mix, set the volume of the individual drum mics with the channel faders and then route it to a sub group, say 1, and then use that for overall drum volume then route that to the main outputs. One fader instead of a lot. Sound more complicated than it is.

There should only be one patch cable going between the pedals but you already know that.

I made my bass, the one in my photo and it's the best sounding and playing bass I've ever owned. It took me years to attempt it but in the end it was suprisingly easy. I say give it a go and even if it doesn't work out exactly the way you planned you'll have learned an awful lot along the way. This was my bible at the time, http://www.amazon.co.uk/Make-Your-Own-Electric-Guitar/dp/0953104907, it proved invaluable. There are quite a few plans for basses on ebay at the moment as well. Good luck.

Get the PRS / MCPS license, you fill out the form with the cover songs on it with the artiste and publisher if you know them, they'll fill that bit in if you don't. They'll then send you an invoice based on the number of copies to be made which obviously won't be a lot and if I remember correctly, you're allowed 25 free promotional copies. Had the PRS folks at a few of our gigs, generally nice people. They wrote a list of the songs we played and asked the titles of the ones they didn't know.

The only time the bass is covered seems to be when you're actually holding it.

Don't forget the lovely orange plastic card. I remember when we were turned away from gigs because we weren't union members. Even had our own promotion in a church hall cancelled for us by the vicar for the same reason. If a non union member turned up to play with union members they refused to play. I'm glad some things have changed over the years.