EBS_freak

Oh cmon, you can do better than that Nash!

I'd go with the black chassis version of the jack socket and it will clean it up a lot more. Also... the locking jack sockets are very, very reliable... so don't be tempted to replace them for others that will inevitably fail! Looks great though. Really neat.

[url="https://www.studiospares.com/Headphones-and-Speakers/Headphone-Amps-and-Splitters/Studiospares-HA20-Headphone-Amp_449760.htm"]https://www.studiosp...-Amp_449760.htm[/url] Noticed that the Millennium Thomann headphone amp (clearly a Chinese rebranded operation) has appeared at Studiospares in a nice natty red colour. £47.40+postage from Studiospares, £38.64 from Thomann - there may be some savings in going via Studiospares on the postage front and the fact you'll get it quicker and you'll (I would have thought) get a proper three pronged adapter. Who knows, I haven't worked it out. EDIT : Noticed a change in the headphone output size between the two. 6.35mm (Studiospares) vs 3.5mm (Thomann), so would need to factor that in if you are looking at headphone extension cables and the like. Probably worth mentioning that if you are running from an aux (or two for stereo) on your desk, make sure you run balanced (XLR or TRS jack) so get the correct leads - especially for long runs between the desk and the headphone amp. ALL IEM feeds should be balanced as you want to minimise the signal loss/degradation.

[url="http://www.fullcompass.com/prod/266505-Eden-Amplification-USM-KITS-70459"]http://www.fullcompa...-USM-KITS-70459[/url] Have you tried speaking to Marshall themselves? - they're usually pretty good. They may have some or know how to get hold of them?

Just cover the whole thing in gaffa tape! I've got one for my PA leads, XLRs, snake and power cables. It's a fair weight when it's fully loaded and it's lasted really well.

[quote name='redbandit599' timestamp='1488821934' post='3252098'] Hi, we've got the Soundcraft Ui16 and have just started doing this via a simple foot pedal (has to be a non-latching one) - just plug it in to the appropriate orifice - turns all the effects on and off on all channels ( for a less spacey between sound for natter/raffle/parked card announcements...) [/quote] I'd never clocked that connector (not that I have one of these units)! To OP - not all units have this though

[quote name='NickD' timestamp='1488819178' post='3252054'] He was wearing a huge watch. [/quote] Oh my gosh. What a grave error. I bet nobody takes him seriously when he goes on stage.

Before this gets into a big debate, I think it all depends upon what a gig calls for...? Single pedals are infinitely more tweakable on a gig than a multifx unit... but the digital memories of the multifx units make for more sounds from less devices and without bending down and knob twiddling.

Can anybody confirm whether [color=#282828][font=helvetica, arial, sans-serif]David Ellefson was wearing a wristwatch or not?[/font][/color]

Forgot about this. Anyway. Paul Pryor is the name you are looking for.

GB Spitfire / GB Rumour (DR Lo-riders, 40 60 80 100 125) -> OBBM interconnect -> Shure ULX-D -> Van Damme interconnect (jack/jack) -> Kemper Profiling amp (with Kemper remote for switching inbuilt rigs/fx) -> OBBM Speaker cables -> EBS Proline 2x10 cabs -> Van Damme interconnect -> Digital desk (either GLD80/X32/DL32R/DL1608) -> Vandamme interconnects (pair for stereo) -> Shure PSM900 -> Jerry Harvey CF Roxanne CIEM (or ACS T1 with Live! pack) (Kemper rig all racked up with rear rack panels and internal wiring for quick setup).

[quote name='JPJ' timestamp='1488298598' post='3247659'] Lots of chat on the Behringer x-air forum about this, and one guy even offering to build a custom footswitch which will issue the necessary midi command. However, there is currently no 'out of the box' solution available for switching one of the four effects processors in/out of signal chain be it on insert or bus mode. [/quote] I'm wagering it would be a Raspberry pi - it wouldn't even need to be the midi command... it could connect to the wifi of the mixer and issue the same API call that the app would issue to do the mute of the fx. Wouldn't even be too hard - just do a packet sniff on the network traffic and grab out the necessaries. A foot operated curl/sendip command?!

[quote name='bertbass' timestamp='1488294184' post='3247592'] Just a quick question for anyone using a digital mixer like the Soundcraft Ui 12, Behringer xair xr12, etc. Do any of them have the ability to switch the effects off remotely, like the old echo units that had a jack socket for a foot switch. If they don't, is it possible to switch the effects on & off remotely, if so, how? Thanks. [/quote] Use the remote ipad/android app... or a switching XLR box - like so - One side goes to a channel with fx, the other goes to a channel without. Yes, it uses a channel... but it does the trick. Kinda uses up a lot of channels if you need to do it for more than one mic.

[quote name='dmccombe7' timestamp='1488273211' post='3247333'] Do majority of these pre-amps have a built in adjustable crossover for the outputs. ? Dave [/quote] No - most setups go to a poweramp, to a full range cab, usually with a passive crossover network. If you wanted to have a proper crossover that you can tune to your cabs, you'd need a speaker management unit.. dbx and behringer are probably the major playesr in the not too expensive arena.

Be careful of sinkage - even after a refin, over time you can see the surface sink to expose the lines that lie beneath. Best bet for a flawless finish is to put a thin laminate over the top, feather the edges to the existing top, reroute and drill as required, finish and then you are guaranteed no sinkage. Intensive work - but the only way to guarantee a flawless finish for years to come.

[quote name='dood' timestamp='1487955082' post='3244580'] White hardware. Why doesn't anyone make White hardware. I expect it will be expensive, but it's the only obvious colour that I think is missing. [/quote] Limited numbers... but it's easy enough to do. Blast the coating off existing hardware and powder coat. Hipshot would probably send you a bridge uncoated cos they seem awfully nice chaps.

My main stands are K&M and Beyer - I have a couple of Hercules. For what I want - the micing up of a percussionist on a sprinkling of gigs, these Studiospares ones looks like they will be just the ticket. £70 as opposed to £360. First gig with percussionist is on March 4th - so shall report back after that date.

Proper way is to have a two pack clear coat applied over the top. Speak to somebody like Martin Sims or similar. Won't be cheap though.

[quote name='Geddys nose' timestamp='1487893049' post='3244050'] I picked a Ashdown Mag 8x10 up for £60 recently, Knocks my BF Big Twin into a cocked hat IMO for tone and spread but weighs 65 Kg. Always had Ampeg Fridges and only sold them due to the weight. I'm looking for a Lightweight version and will probably sell the BF. [/quote] 4 2x10 cabs.

Mixer.

Only tracks to an open A, sorry to piss on your chips

Phil has some good advice. You didn't state budget, but RCF are sweet for vocals and my favourite "main stream" brand before going into the silly money brands. From the RCF point of view... RCF ART 312 is pretty much the equivalent to the SRM450. The 312 are going to see you fine - they'll be a nice match with your subs. If you can stretch, you may want to consider something from the 7 series - specifically the models they do with the larger voice coils in the high frequency horns. Having a larger vc in the horns, give you a better vocal, and allows for a lower crossover to get more headroom out of the larger driver (the woofer). Result is clearer vocals and box that can give you more oomph without losing the vocals. 732s are great. If you can go up to the 735 or 745, you can pretty much do smaller venues without the subs as they will take kick and bass with no trouble. The 735s or 745s with subs will be very loud and hardly breaking a sweat to deliver a nice smooth, clear sound. Nothing worse than a over pushed PA to mess up your ears. These larger VC HF are RCF's secret weapon in the 7 series - you normally only get 3inch VCs in the highs in more expensive wooden boxes and in the case of the 745, the 4inch VC in the FH horn is normally reserved for the pro PA. The fact they have put these drivers in lightweight plastic boxes pretty much makes them unbeatable compared to the competition. If you are looking for big boxes that can mean you can do smaller gigs without sub support, you should check out the Yamaha DXR15s too - but I guarantee the vocals won't be a patch on the RCFs mentioned above. RE: Mackie reliability - yes, there were numerous power amp troubles when they changed the components... and the drivers sound a lot more harsh than the MK1s - which were probably the best edition of the SRM450 Mackie put out. They've sorted the power now but the driver tone is still the same. As Phil says, you'll get loads of opinions... but go and check them out and see what fits your budget. But what I will say, is stay away from line array stuff for a band... unless you start looking at the likes of K-Array... (Even then I still think the array system is flawed for smaller venues and like for like money wise, I would wager the boxes would perform and sound better... Arrays need big venues!).

I use delay as a synth pad thing - I've yet to be able to use it in a manner like guitarists do though... and reverb is nice in an acoustic setting, especially with fretless... but yes, for your standard in a band bass, reverb and delay are probably most up there in the least needed effects. EDIT: Something like this maybe... http://www.youtube.com/watch?v=WW7iIaZeMgY

[quote name='T-Bay' timestamp='1487691691' post='3241878'] He is the first to say what an unreliable bunch they are as a whole. [/quote] More so than musicians?