jimmyb625

I'm still in. There's only one bass that I want at the moment, but there's no way I can afford it at the moment, so I'm pretty safe.

Unless you work for Boeing...

Well, his name is George and he does play the guitar.

A Flock of Humans Seagulls League Now that's what I call the 80's covers

That sounds like George Borowski, he's a really nice guy.

I've not seen this thread before and it's been quite an interesting read. My own tale goes back to 2012, at Forsyth's in Manchester. My partner and I had an agreement where we bought each other something significant to mark the birth of our children (in 2007 it was a 5 string Bongo for me) and this time, I was thinking about a nice acoustic. At the time, my eldest (5 years) had started to take piano lessons, so we took her along with us, so she could look at the selection they had (they specialise in pianos). The staff in the guitar department couldn't have been more helpful, bringing a selection along to me to try out and at no point pressured me with anything. I was pretty much left to my own devices with a brilliant collection of high end guitars, although it only took 5 seconds on the second guitar to decide. Whilst I was ham-fistedly banging away on these, my daughter took it upon herself to go and "try" some of the pianos they had in stock. For a good half hour, she played a range of acoustic pianos going from "cheap" uprights to some top of the range Schimmels. The staff in the piano department never once told her she couldn't touch them, or tried to move her on and encouraged her to continue. That's what I value about a good music shop. As a footnote, we didn't buy either a guitar, or a grand piano that day, but a few weeks later on Christmas day, the guitar I'd fallen in love with was presented to me.

Dragging back to the topic (I know, I could get banned for that) I thought it was really interesting. It's mad to think that he only got paid £600 for the job, given how iconic it's become.

I had a very nice chat with Stephen Morris and his wife Gillian, backstage at the Krankenhaus Festival. They live in Macclesfield, which is just down the road from us, so we chatted about how rubbish the council was, plus the best way to get to Muncaster Castle from Cheshire amongst other things. I didn't have the first clue who he was, so it was somewhat surprising to see him on stage later in the day being interviewed.

This is the biggest drawback with T-Shirts, you need to carry about 6 (Small, Medium, Large, Men's, Women's), in order to sell one. We also went down the route of having some tote bags made, which didn't go down too badly. They're also quite useful as an "add-on" so people can put their other purchases in them.

Have you got a spare input channel on the desk? If you have, dependent on the type of desk you have, you can take a direct out from one channel into a separate channel. You can eq that duplicate channel and set it to only got to the IEM mix (basically the channel fader would be down and the aux send would be pre-fade). Edit to add: What model of Fractal are they using? One of their biggest selling points is the ability to provide amp sim's. It might be that (if they're using it in front of an amplifier) they aren't using the modelling functions. From what I can see, both of the main outputs are capable of having the amp modelling. I will caveat this by saying I haven't personally used this particular model, but I have seen similar devices.

Are you using your own desk and is it handling both FoH and monitors? Sometimes, what eq sounds good out front, isn't as great through IEM's. For both the guitar and bass, you need to find "space" for them in the mix, which will take a bit of trial and error. If you've got your own desk, which you're just using for monitoring, you're on a winner, although you should definitely set some time aside with the band to get a mix you're happy with. As @Bassmonkey2510 says, a mic on the guitar cab will be better, but a modeller is bestest! Getting the guitarist to make that switch though, may not be the easiest. For bass, I'm moving more and more over to just my pedals and the last two gigs, I didn't bother to use my amp at all. I've set it now so that the DI sound is one I like, which means I can feed it pre-eq into the aux mix for my IEM's. That way, if the FoH needs channel eq, it doesn't affect what I hear. The major downside for IEM's in my opinion, is the desk and engineer that you might get at some gigs. If you've got a good engineer, who's used to using them, it's great, but if not, it can make it quite difficult. Similarly, if the desk doesn't have enough spare aux sends, it gets tricky, as you need to start sharing mixes and the like.

Mixing live musical theatre is a full-on task. I used to do some for an amateur group, prior to the widespread adoption of digital desks. It took 2 of us to do it and even though we only had 10 channels of radio, we were usually filling a 48 channel desk. I don't think the OP would want to use the same type of microphone as musical theatre does though. One of the more rugged types with a boom arm would be a better choice (imho) as the capsule types have a tendency to succumb to sweat and stage makeup.

The only time we've played in Aberdeen, we had an onsite car park and crew to help with the load in/out. However, no one was there to see us and if we played again, we'd be lucky to fill the cafe at Torry Battery!

Yeah, we've had that one as well. I think it depends what's going on in the theatre.

Yes, it has a belt clip (wire) on it.

This. It's fairly common for the red cable to be the "right" side, which corresponds to the "ring", which (if I'm looking at the right pocket amp) is the return. This means, connect the red jack to the output of your HX. The black cable should be the tip, so connect that to the HX input. The single jack is known as TRS - tip, ring, sleeve.

The P1 is active, it's the PM1 that's passive.

They also managed to do a very good job of signing Harry Joyce's name on a load of HiWatts...

An evening out in Chester with Fine Lines, playing at Telford's Warehouse. Almost had a major disaster, as I went on stage without my hat, fortunately our eagle-eyed sometime tour manager noticed it. Positioning himself at the side of the stage with said head-gear, I was able to wander over allowing him to return it to its rightful location. It makes using a wireless all the more worthwhile! I was really pleased with how we played and we didn't get bottled off, which is always nice. Had a very pleasant brief chat with @lurksalot of the parish, who kindly turned up to support us. Obligatory photo's below. *edit to add, my jeans aren't too long, my legs are too short!

Lovely to meet you and thanks so much for the kind words.

LD. I had a damaged antenna cable on an IEM belt pack. I wrote to them and asked if there was a replacement part, or if I had to send it to them for a factory repair. "No can do" came the response, with the suggestion that I pay £150 or so for a new pack. Ebay provided a replacement for £5 and it took less than 30 minutes to repair.

Where's the village? I feel this could be the rehearsal venue of choice from now on.

Allen & Heath do have a similar system, albeit more expensive. Do you mean the CQ20? That doesn't have it as far as I can tell. The QU-SB does, although they're more expensive and (imho) will probably end up being phased out fairly soon

It's basically a way of networking audio from the mixer. It allows you to use a unit (Powerplay) which will give you a custom mix, independent of any aux mixes you'd use from the desk.

Your honour, I direct the court's attention to this post on the Internet, where the defendant clearly expresses the manner in which he attempts to circumvent the rules.