tayste_2000

I'll have a word with Brad tonight see what he says. Not sure though. Cheers

Bump

Need to get some batteries in my camera Price drop to £140 Interested in part ex's for Tuner's Octaver's Looper/delay pedals

Gonna give this till the end of the month then I'm sending them back. $110 according to www.xe.com is £69, though paypal might rip you off a bit more

I have a DTR-2 available for sale if you want would take £60 for it so I can buy a pedal tuner. Just putting it out there if you want to sell the EBS and buy my tuner and have money left over

Would you be interested in the Mesa Bottle Rocket I have up for sale in a part ex for the OC-3 money from you of course Let me know what you think. Cheers

Looking for another pedal tuner and maybe sopme cash to make up the price difference depending on the tuner. The unit is in great condition been racked all it's life. Has had the power cable shortened and IEC added so it goes better into racks with power conditioners but I can include an IEC cable (Kettle Lead) for those that want one. Cheers

Price?

Man I want that Jamman

Technical Specifications: Mix Noise: Input faders down, Master Faders up < -83dBu Aux Noise: Input Sends down < -83dBu E.I.N.: Source resistance 150W, gain maximum -129dBu Distortion: Mic Gain 30dB, Mix Out at +14dBu <0.005% 20Hz - 20kHz Crosstalk: 1kHz sine wave Input Fader Attenuation >100dB typical Aux Send Attenuation >85dB Adjacent Channel >90dB Frequency Response: 20Hz- 30kHz, relative to 1kHz +/- 1dB Input & Output Impedances: Mic Inputs 2kW Line Inputs 10kW Outputs 75W Input & Output Levels: Mic Input +11dBu maximum Line Input >+30dBu maximum Any Output +22dBu maximum Headphone Output 200mW each side Weight: 4.2Kg Dimensions: 376 X 478 mm THE CONTROLS IN MORE DETAIL: MONO INPUT CHANNEL MIC INPUT: The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from delicate vocals requiring the best low-noise performance or close-miked drum kits needing maximum headroom. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. While you can use low-cost HIGH IMPEDANCE mics, you do not get the same degree of immunity to interference on the microphone cable and as a result the level of background noise may behigher. If you turn the PHANTOM POWER on (top right-hand side of the mixer) the socket provides a suitable powering voltage for professional condenser mics. DO NOT use unbalanced sources with the phantom power switched on. The voltage on pins 2 & 3 of the XLR connector may cause serious damage. Unplug any mics if you want to use the corresponding LINE Input to avoid the load presented by the mic from affecting the Line Input gain. The input level is set using the GAIN knob. LINE INPUT: Accepts 3-pole ?A? gauge (TRS) jacks. Use this input for sources other than mics, such as keyboards, drum machines, synths, tape machines or guitars. The input is BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown below, although you should then keep cable lengths as short as possible to minimise interference pick-up on the cable. Unplug anything in the MIC input if you want to use this socket. Set the input level using the GAIN knob. GAIN: This knob sets how much of the source signal is sent to the rest of the mixer. Too high, and the signal will distort as it overloads the channel and causes clipping. Too low, and the level of any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer. This is shown in the diagram below: Setting the knob to the ?U? mark gives unity gain for the LINE input. Note that some sound equipment, particularly that intended for domestic use, operates at a lower level (-10dBV) than professional equipment and will therefore need a higher gain setting to give the same output level. 100Hz HI-PASS FILTER: Pressing this switch reduces the level of bass frequencies only, and is a real bonus for a such a small mixer. Use this in live PA situations to reduce stage rumble or ?popping? from microphones. EQUALISER: The Equaliser (EQ) allows precise manipulation of the sound, particularly to improve the sound in live PA applications where the original signal is often far from ideal due to poor acoustics or restrictions on where to place microphones and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity. The EQ allows enough control to improve, for instance, bad recordings or the precision to gently enhance vocal or live instrument tracks. There are three sections, HF, MID and LF giving the sort of control usually only found on much larger mixers. The EQ knobs can have a dramatic effect, so use them sparingly and listen carefully as you change any settings so that you get to know how they affect the sound. HF EQ: Turn to the right to boost high (treble) frequencies by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn to the left to cut these frequencies by up to 15dB, reducing hiss or over-emphasis of high-frequency consonants, which can occur with certain types of microphone. Set the knob in the centre-detented position when a flat response is required. MID EQ: There are two knobs which work together to form a SWEPT MID EQ. The lower knob provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at which this occurs can be set by the upper knob over a range of 250Hz to 6kHz. This allows some truly creative improvement of the signal in live situations, because this mid band covers the range of most vocals. Listen carefully as you use these controls together to find how particular characteristics of a vocal signal can be enhanced or reduced. Set the lower knob to the centre-detented position when not required. LF EQ: Turn to the right to boost low (bass) frequencies by up to 15dB, adding warmth to vocals or extra punch to synths, guitars and drums. Turn to the left to cut low frequencies by up to 15dB for reducing hum, stage rumble or to improve a mushy sound. Set the knob to the centre-detented position when not required. AUX SEND 1: This is used to set up a separate mix for FOLDBACK, EFFECTS or recording, and the combination of all the Aux 1 Sends is mixed to the Aux 1 Output at the rear of the mixer. The controls are specially chosen to give a particularly smooth control range at the lower end of the scale where it is most needed - quite unique on a mixer of this type. For Effects it is useful for the Aux Send to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader so that, for instance, the mix to artists headphones is not affected by changes in fader level (this is called PRE-FADE). The Master Section AUX1 PRE: switch allows you to switch from pre- to post-fade across the whole mixer as required. Leave the knob turned down when not in use. AUX SEND 2: This is similar to the Aux Send 1 control, but is always POST-FADE. PAN: This control sets the amount of the channel signal feeding the Right and Left MIX outputs, allowing you to move the source smoothly across the stereo image. When the control is turned fully right or left you are able to place the signal at unity gain to either left or right of the output. FADER: The linear FADER gives you smooth control of the overall signal level in the channel strip, allowing precise balancing of the various source signals being mixed to the Master Section. You get most control when the input GAIN is set up correctly, giving a normal fader position around the ?0? mark, generous control range below and some gain in hand above the mark when you need that little bit extra. See the ?Initial Setting Up? section on page 10 for help in setting a suitable signal level. STEREO INPUT CHANNEL: STEREO INPUT L & R: These inputs accept 3-pole ?A? gauge (TRS) jacks. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or as returns from processing units. The inputs are BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as possible to minimise interference pick-up. INPUT +4/-10: Most professional equipment uses input and output levels of +4dBu, but semi-professional tape machines or hi-fi systems use a lower level of -10dBV. This switch allows you to match the sources connected to the Stereo input jacks to either standard, which is important to ensure the best possible sound quality. If you are not sure what input level is appropriate, start with the switch UP to select +4dBu. If you are unable to achieve an adequate signal level (even with the fader at maximium), press the switch in for -10dBV. HF EQ: Turn to the right to boost high (treble) frequencies, adding crispness to percussion from drum machines, synths and electronic instruments. Turn to the left to cut these frequencies, reducing hiss or excessive brilliance. Set the knob in the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at a fixed frequency. LF EQ: Turn to the right to boost low (bass) frequencies, adding extra punch to synths, guitars and drums. Turn to the left to reduce hum, boominess or improve a mushy sound. Set the knob to the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at a fixed frequency. AUX SEND 1: This is used to set up a separate mono mix for FOLDBACK, EFFECTS or recording, and the combination of all the Aux 1 Sends is mixed to the Aux 1 Output. For Effects it is useful for this to fade up and down with the FADER (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the FADER so that, for instance, the mix to artists headphones is not affected by changes in fader level (this is called PRE-FADE). The Master Section AUX1 PRE switch allows you to chose pre- or post-fade across the whole mixer as required. Leave the knob turned down when not in use. AUX SEND 2: This is similar to the Aux Send 1 control, but is always POST-FADE. BALANCE: This control sets the amount of the channel signal feeding the Right and Left MIX outputs, allowing you to balance the source in the stereo image. When the control is turned fully right or left you feed only that side of the signal to the mix. Unity gain is provided by the control in the centre-detented position. FADER: The linear FADER gives you smooth control of the overall signal level in the channel strip, allowing precise balancing of the various source signals being mixed to the Master Section. It is important that the input level is set correctly with the +4/-10 switch to give maximum travel on the fader which should normally be used at around the ?0? mark. MASTER SECTION: AUX 1 PRE: The input channels provide both Pre- and Post-Fade AUX 1 sends which may be selected desk-wide on the Master Section. Press the AUX 1 PRE switch to make all of the AUX 1 Sends on the channel strips PRE-FADE. This means that they will all be unaffected by the position of the channel faders, making them ideal for FOLDBACK or MONITORING. Since this button affects all the channels on the mixer, its importance is highlighted by a different cap colour. When the switch is released the AUX 1 Sends are all POST-FADE, and will fade up and down with the channel faders. This is more suitable for effects sends which need to fade out with the associated source. AUX 1 AFL (AFTER FADE LISTEN): Just like the PFL switches on the channels, you can monitor the AUX 1 output by pressing the AFL switch. This routes the AUX 1 output signal to the MONITOR or PHONES, replacing any existing signal (normally the Monitor receives either MIX or the Tape Return, depending on the position of the MIX switch - see below). The RIGHT METER also switches from the selected source to display the PFL/AFL signal and the PFL/AFL LED lights to warn that a PFL or AFL switch is pressed. When you let go of the switch the Monitor returns to the previous source. AUX 2 AFL: This works just the same as AUX 1 AFL. BARGRAPH METERS: The three colour BARGRAPH METERS have a PEAK response and normally follow the Monitor selection to show the level of the MIX RIGHT and MIX LEFT outputs, giving you a constant warning of excessive peaks in the signal which might cause overloading. The fast attack of the meters means that a signal with high level transients (e.g. kick drum) will tend to give a higher reading than a less dynamic signal (e.g. a synth) at the same level. You should therefore aim for an average reading of +6/+9 if the mix contains a high proportion of high level transients and a lower reading of around ?0? for steadier signals with the Master Faders at about the ?0? mark. If the output level is too low and hardly registering at all on the meters, the level of background noise may become significant. In this case check that input levels and gain settings are correct (see the section -- Initial Setting Up) OSCILLATOR TO MIX: A built-in 1kHz OSCILLATOR provides a test tone for system tests or aligning Tape Machines. Press the switch to turn ON the oscillator and feed the tone to the MIX outputs at a fixed level and frequency. DON?T DO THIS DURING A LIVE PERFORMANCE, OR WITH THE AMPLIFIERS TURNED UP HIGH - a sudden, very loud burst of tone will not do your ears or your loudspeakers any good! Since this button must therefore only be used with caution, its importance is highlighted by a different cap colour. PHANTOM POWER: Many professional condenser mics need PHANTOM POWER, which is a method of sending a powering voltage down the same wires as the mic signal. Press the switch to enable the +48V power to all of the MIC inputs. DO NOT turn on the phantom power when using unbalanced mics which may be damaged by the voltage applied to pin 2 & 3 of the mic input XLR. Note: Mics should always be plugged in before switching the Phantom Power ON. MASTER FADERS: The MASTER FADERS set the final level of the MIX outputs, and separate faders are provided for LEFT and RIGHT. These should normally be set close to the ?0? mark if the input GAIN settings have been correctly set, to give maximum travel on the faders for smoothest control. If, even with correct input settings, you find that you are working with the master faders very low, then turn your power amplifiers down so that you can bring the fader level back to normal. TAPE RETURN LEVEL: The TAPE RETURN jacks are an ideal place to connect the playback of a tape machine, without using up any of the LINE inputs. This pot sets the level of playback signal fed either to the MIX (when MIX is pressed) or MONITOR, when TAPE RETN is pressed. The TAPE RETURN is also the best way of connecting a tape or CD player to feed pre-show music to a PA rig, since this leaves all input settings unaltered. It can also serve as the return from an Effects unit to save using up Line Inputs. TAPE RETURN TO MIX: Press this switch to route the TAPE RETURN signal direct to the mix outputs. Adjust the input level with the TAPE RETURN LEVEL control. The Tape Return signal will now be present at the Mix outputs, at a level set by the Master Faders, and the meters will display this same signal. TAPE RETURN TO MONITOR: Press this switch to route the TAPE RETURN signal to the MONITOR and PHONES outputs. Adjust the input level with the TAPE RETURN LEVEL control. The meters will now be directly reading the level of the Tape Return. NOTE: If both TAPE RETN and TAPE RETURN TO MIX are pressed, although the mix outputs will be carrying the Tape Return signal under the control of the Master Faders, the meters will be displaying the full Tape Return signal. MONITOR & PHONES LEVEL: This control sets the output level to the MONITOR LEFT & RIGHT outputs. If HEADPHONES are plugged into the PHNS jack the Monitor outputs are cut off, and the knob then sets the headphone listening level. When the PHONES are unplugged the Monitor output is restored. MIX INSERTS: The Mix Left and Right signal paths have pre-fade insert points which provide a means of diverting the signal to an external processing unit such as a compressor or limiter. Inserting a jack into the insert breaks the signal path and allows the INSERT SEND (on the tip of the jack) to feed the input of the external unit and the INSERT RETURN (on the ring of the jack) nto receive the corresponding output. Note that if the tip and ring of the jack are shorted together the signal path remains unbroken and the Insert may then be used as a way of tapping off the Mix signal before the fader. Note: The internal power regulation circuits for the mixer are fitted in the top right-hand corner of the case. A small amount of heat is dissipated by these circuits and it is therefore quite normal for this corner of the mixer to become warm in normal operation. SOUNDCRAFT Made in England Serie Spirit Folio

[quote name='cheddatom' post='494961' date='May 22 2009, 10:47 AM']does it have direct outs or inserts on each mic channel? Does it have a headphone out?[/quote] It has headphone out, it does has inserts but they aren't per channel, not sure on the direct outs.

Did you get that FL-10 off me? If so would you consider selling it

I'll get some more info and pics of the actual unit tonight. I bought this ages ago and I'm just not using it I can get by with a small Behringer mixer. 3 band eq, 3 aux sends, 100mm linear fader, pan, 60db gain range, line and insert and xlr mic input. two stereo channels with rca (phono)inputs and rotary control, and two stereo line inputs with gain, 2 band eq, 3 aux sends, pan, on and pfl switches and 100mm linear fader. master section includes bargraph led meters, global 48v phantom power switch, aux masters, mono sum master, 2 track return and main 100mm linear faders. main output balanced on xlr connectors. this mixer is in great condition. comes with 10 trs leads, wall mounting brackets and power supply. It's a great mixer, been used quite a bit was in a school I think before I had it but everything works even if it is a bit tatty. Looking for about £55 Interested in trades for Digitech BSW MXR M288 Bass Octave EHX MPOG Boss LS-2 Boss TU-2 Korg DT-10 Korg Pitchplack Peterson Strobostomp Korg Electribe or that Roland MC-307 for sale here Cheers

[quote name='JonnyM' post='494926' date='May 22 2009, 10:02 AM']Ha! That's a - dare I say it - tastey Tayste board :brow: By the look of it, the MPOG's not gonna fit on mine - will await exact width before dismissal tho...[/quote] Not mine I'm afraid.

This might give you a good size guide

Very similar size though width wise isn't it?

Same size as your Tremolessence

Is she after any trades?

[quote name='liamcapleton' post='493654' date='May 20 2009, 07:55 PM']Ta for the info, I'm going to try and shift my old Tech 21 Bass XXL and make up some money... so if it's still around by then I might snap it up... otherwise, best of luck with the sale.[/quote] I'd part ex for the XXL if you're interested

It can do practically no gain at all, no low end loss But very different sounding to the barber, depends what you are after. Hope this helps

Can't afford it but would love to see pictures

[quote name='Toasted' post='492423' date='May 19 2009, 03:13 PM']How much cash would you need on top of one Bottom Feeder from me to buy both pedals, Tim? Pm me Cheers, Joe.[/quote] You suck