Stub Mandrel

My 9th birthday acquits itself quite well too. Voodoo Chile at number 1 and James Brown's Sex Machine at No 50, with Paranoid and Black Night in between.

I heard a song I hadn't heard before on the radio, I thought 's**t that's good' and got google to identify it. "You can't get away" by Mountain. Methinks its about time I bought a copy of Nantuncket Sleigh Ride. (album) On the bright side, we obviously have a lot to look forward to...

It did! I'd link to my post under the gig last night thread but I can't find how to link a specific posting, so: We were the 'Grizzly Beers' and on second. The sound was spot on as you might expect from a venue with a proper stage and a list of past bands like this: Were were hoping not to make fools of our selves but in the end we had a great reception and everyone was saying how good we were, especially how we fitted all the instruments together. We started with Going Back Home as easy to play and a crowd pleaser. The Saturday Night's Alright for Fighting which is a tad more challenging! Our secret weapon was Boulevard of Broken dreams where we got all those stops spot on, including the end - our effort to practice endings really paid off. We did 40 minutes and finished with My My, Hey Hey. I started it with my HM2 pedal dialled and a plaintive howl of feedback, calmed down a bit for most of the song, and finished with HM2, tremelo, flanger, EQ and chorus on and the compressor off! The plan was to go out with a bang and it turned out we managed to make a picture fall off the wall at the far end of the building in the next room 🙂 We ended witha group hug! A few moments of sheer terror, but in the end we all had a brilliant time and the other bands were great too! We are meeting up in a couple of weeks top discuss a plan for world domination!

Not a mates of Rrussel is he? Looking at the PJ it has line out on the back and the Ashdown has a line in that will take up to 20V P-P, so all you need is a jack lead from line out on the PJ to line in on the Ashdown. If this causes hum, you might need to break the earth connection at one end of the jack lead to break an earth loop* (and mark it so you know why it doesn't work as a normal lead anymore). *unless the Ashdown has an earth lift, which I doubt.

Yes the mains plug should be providing your earth. I'd be surprised (horrified) if something metal cased like that was unearthed. Can you describe exactly what causes the crackle, is it jiggling the connector in its socket (plug or socket likely to be worn or dirty) or jiggling the cable where it goes into the connector (damaged conductor in cable). Does the hum depend on where the microphone is held? Does it get worse when near a mains powered object? does it get better or worse if you touch the microphone windshield? If the cable is not mating properly with the connector in the microphone or has a broken conductor that could explain both crackles and intermittent hum. The last rehearsal we had two out of three cables crackled really badly when plugged into a mike, one was even cutting out completely. A third cable was fine. They all looked pretty new.

It's the 'Playboy' version... (think about it). Actually the umlaut appears to be an optional extra...

You need to learn your hat etiquette. It is customary for a man to remove his hat when indoors as it is worn as an item of utility. A woman wears a hat as part of her outfit, so may keep it on indoors. However, once performing the hat is part of the stage outfit and may be worn indoors.

Those ground terminals are for building it into a permanant installation when you want to avoid earth loops and have everything grounded from the same point. It shoudl be grounded through the plug. If you get crackles from moving the XLR plug in its socket and humming when the mike is plugged in this suggests the XLR plug is worn OR there may be a wiring fault in the lead.

Here it is in WinISD, assuming 30l cab tuned to 56Hz (two 64mm ports 160mm long) and 150W. The Beyma is the green line, the bottom line is an MCM 55-2982 a budget-ish driver available from CPC for about £50. The red line is an Eminence Beta 12. From these three the Beyma is probably going to have the best balance of top and bottom end. That resonance for the eminence might make it boomy.

You could try white 'Kintsuglu' to mould your own pips: http://www.loctite-consumer.co.uk/en/products/kintsuglue.html Does anyone know a source of the green 'roof' cap for the volume knob? It's around £20 for a pair from British Audi in the states once you add postage.

Official Trace Elliot procedure is to turn volume to low, play a loud passage and raise input gain until the overload light comes on, then back off one click. Adjust EQ and repeat. The idea is to get the maximum signal to noise ratio. Unlike the vast majority of amps, it really is a gain control, not a volume control:

Do you use a slot with a curved bottom? If so, how do you vary the depth?

Presumably that simulates the previous owner having incurable priapism?

0.0117 seconds to choose a name. Years to regret the choice...

A proper crossover will send more treble to the tweeter, but depending on the choice of drivers this might make the system sound too bright. Main thing is that the woofer impedance is what matters in terms of system impedance. The energy in the HF part of the signal is relatively small.

They probably thought they were enhancing the grain...

By 1000 times...? Best practice is playing along to the radio, whatever comes on, play along to it. Learning songs all the way through rather than just learning 'signature riffs'. Choosing a key and a scale and noodling in it over as much of the neck as possible, changing styles, tempo and the scale but NEVER breaking out of the key. A good video on YT suggests playing a riff fast three time, then doubling your tempo for one time round, then back to normal and so on.

I have these ones: I also have piles of others, but bought a couple of these because I like right-angle plugs for some of my basses. They have really nice strain relief built in to the connectors. My favourite is an expensive one from the 90s, I bought my brother one as a well and it's still his favourite gigging lead!

It depends; the £1000 limit is turnover not after expenses too, but it 's aimed at people who make a bit of money from hobbies and interests etc. so not 'semi-pro' musicians. But if you're just gigging once a month and getting paid £200-300 between four people... I think every band I was in pretty much paid for rehearsals, beer, petrol, consumables and the odd trip to Birmingham to visit the music shops.

Some bands do... have you heard any recent Hawkwind? Not unlike the Kinks and the Beatles moaning about income tax...

On the cables, the 'snake' ones get pretty poor reviews as being noisy. The 'fun' ones are probably OK. My most recent ones are Stagg from Normans and they are cheap but good, no nasty noises.