pete.young

The Korg G5 takes a lot of current - don't remember exactly but I think it's something like 1.5 - 2.0 amps. I found that with a multi-supply, plugging in the Korg meant that most of the other pedals stopped working and other weird sh*t started happening. I'd start by looking up the power rating of the 5way adaptor and see what it's rated at.

[quote name='BottomE' timestamp='1346868614' post='1794307'] I bought an EBS Multicomp and put it in the effects loop of a Little Mark II amp. It is quite easy to use and if i weren't as lazy as i am i would probably stick with it. To me it was noticeably more effective in the loop than just running my bass straight into it and then the pedal into the amp. [/quote] The LM II is shipped with a parallel effects loop, so if you run the compressor in the loop you get a blend of compressed and uncompressed signal, which I'd expect to be less 'effective' . Unless of course you've re-jumpered your amp so that the loop is in series.

What's the effects unit? Most will happily take a mono input and will still do some kind of stereo processing to the output. Use Aux 2 to send the input to the FX unit, make sure it's set to 'post fader' if you have a choice. Plug the stereo outputs from the FX unit into the desk L/R return, and assign the return signal to the main mixer bus. Plug the mixer outputs straight into the amp.

I've just gone through a similar exercise. There are two things to consider: Even if the mixer has built-in effects, you still need an aux send to pipe the signal to the effect. This needs to be a post-fader send in order to be useful. For a monitor mix, you need a pre-fader aux send, otherwise you'll get the front-of-house mix in your monitors. So for your requirements, you need four aux sends, three of which need to be assignable to pre-fader. Some of the mixers in your list (the Behringer and the Mackie, and maybe others), have only three aux sends, only two of which can be used as pre-fade. General rule of thumb seems to be that if you want lots of monitor mixes, you end up with a much bigger desk such as a Mackie Onyx 1640i or the 24-channel Behringer, can't remember the number but the footprint of these units gets much bigger. The Presonus has 4 aux sends which can be configured, and it looks like a great piece of kit. I was put off by the price and what seemed to me to be a pretty steep learning curve, and ended up with a Yamaha MG206C and an external box for reverb. Be interesting to see if any of the presonus users had trouble getting their heads round it. I've also found that setting up 3 different monitor mixes can be a complete nightmare, much more difficult than getting a decent FO sound. It would be much easier if everyone had IEM and the volume on stage was easier to control.

I don't think so - that circuit is for a latching switch. For a non-latching switch it will just flash the LED when contact is made. I need something which will remember the state - it'll probably involve an IC, and using that to both turn on the LED and pass the signal to the effects unit. If I get anywhere with it, I'll post the results.

Nice-looking CMI Jazz , handy for anyone in Welsh Wales http://www.ebay.co.uk/itm/jazz-bass-guitar-/290773056405?pt=UK_Musical_Instruments_Guitars_CV&hash=item43b36cbb95

There are loads of threads about this all over the forum already. [quote name='Lozz196' timestamp='1347300797' post='1799068'] Interparcel or Parcel2go are both worth checking out. Don`t use Parcelforce - their exclusions for insurance include musical instruments. Even though they will happily accept the money for extra insurance, as guitars are excluded, you get nothing for loss/damage. they get out of this by stating it`s the customers responsibility to read the exclusions. [/quote] Parcelforce will pay compensation, but only up to a maximum of £150 , and this isn't increased by the additional insurance. Parcel2go are not much better, IMHO: from their terms and conditions: Guitars - maximum parcel compensation value for damages is £100, up to £1000 compensation for lost items. Guitars must be sent in a hard case.

Those old Harmony banjos and Sovereign guitars from the '60s and '70s were pretty good quality if you ask me. A decent find. Just had a so-so experience with Hobgoblin in Milton Keynes. I live a long way from all the Hobgoblin shops, so I was going to take advantage of a rare meeting in MK to check whether my Tanglewood will fit in an Ashbury hard case. I ran HG on Tuesday, gave them their own stock number, and was assured that they have one in stock. When I arrived yesterday it turns out they didn't, clearly hadn't checked when I rang, and offered me a second-hand case for a Seeger style longarm that clearly didn't fit. At least I didn't make a huge detour to get to the shop, but I was a bit miffed. What more can one do?

You will frequently find that the music is in 8-bar phrases, with a gap between the first beat of the last bar of a phrase and the start of the next phrase. That space is yours, to drive the music through the pause and into the next phrase.

I agree with Shep, I can't see how this will work if the amp is at the beginning of the chain: all those other boxes are supposed to be line level devices not power level. Maybe the arrow is arse-backwards. What I would do is this: set the amps up so that the effects loops are series rather than parallel. Put everything that is always on, and is required to process the entire signal (the compressor, the noise reduction and possibly the Aphex, don't really know what that does) into the effects loop. Tag the M300 onto the output of the pedal board (presumably you want to turn the M300 on and off?). So you end up with: Bass -> Pedalboard in -> Pedalboard out -> M300 in -> M300 right out -> GK1001 M300 left out -> Ashdown Then in the GK 1001 loop Send -> Compressor Channel 1 -> Aphex Channel 1 -> Noise reduction Channel 1 > Return And similar for channel 2 in the Ashdown loop.

Are you planning to attend the South East bass bash? I have a gig that evening but might be able to bring mine along during the morning session.

Cheap SGC Nanyo Bass Collection 5-string, collection from Widnes. Looks like an SB315 to me. Missing one knob, otherwise it's all there. http://www.ebay.co.uk/itm/5-STRING-BASS-/221115238422?pt=UK_Musical_Instruments_Guitars_CV&hash=item337b7ec816

Plug the markbass speaker into the extension socket. Leave the Ashdown in the car.

[quote name='xgsjx' timestamp='1346066685' post='1784693'] I did not know that! Shocking! I've had a few 110v shocks & burns. All back when I was in my late teens/early 20s. [/quote] In the UK, it's 48 V DC.

The Dunlop Power Brick has 3 18v outputs.

I have recorded both the sessions and will watch them today. I got back from a gig last night and just caught the last couple of numbers of the set. What a great band. I love the Wasting Light session recorded in Dave Grohl's garage. I wish I had a garage like that, instead of mine which is full of junk and old bicycles! https://www.youtube.com/watch?v=Xnmzins2Uow

Does anyone have a circuit for putting an LED on a non-latching footswitch, so that it toggles on and off every time you press it? Edit: After doing a bit of research, what I need is apparently called a 'flip-flop' circuit. Presumably named after its French inventor, Phillipe Phelope :-)

We're doing a mix of function gigs and pub gigs, 5-piece pop covers band. Peavey 2600 amp, heavy but brilliant Peavey subs and tops with crossover build into the subs. Built to a price but sounds great. Yamaha MG206C mixer Carlsboro powered/slave monitor used with Peavey feedback destroyer for vocals W-Audio 600 drives 12" generic monitors for everyone else No backline - everything goes through the PA and back through monitors. I DI off the V-Bass straight into the mixer. Luckily we have a quiet drummer so this keeps the volume on stage to sensible levels, and we can mike the kit if needs be. The Yamaha mixer gives us 3 separate monitor mixes.

Russ Andrews have a nice selection , very reasonably priced!

I used to own this bass, and I can assure you that the body really is one piece.

Around 1840, a french violin maker named Villaume discovered that intonation and playability of the instrument was much improved if a longer scale length was used, together with a narrower neck and other modifications. Similar to the revelation that a 34" scale bass works better than a 30" I guess. From 1860 virtually all instruments were made with these changes, but the earlier instruments recieved a neck graft to make them more playable. Google is your friend here if you need exact details.